Prometheus to Revelation : Fire and the Work of Tony Harrison
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Prometheus and Pygmalion." Critical Practice: Philosophy and Creativity
McQuillan, Martin. "Prometheus and Pygmalion." Critical Practice: Philosophy and Creativity. London: Bloomsbury Academic, 2019. 113–137. Bloomsbury Collections. Web. 30 Sep. 2021. <http://dx.doi.org/10.5040/9781472544391.0010>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 30 September 2021, 00:48 UTC. Copyright © Martin McQuillan 2019. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 4 Prometheus and Pygmalion In the Metamorphoses, Ovid tells the stories of two possible models for the relation between philosophy and creativity.1 They are two of the foundational myths of our understanding of art and civilization, the tales of Prometheus and Pygmalion. In this chapter, we will look at both stories with a view to better understanding the paradoxes of critical practice, each tale providing us with a different point of entry to the complexities of artistic practice and philosophical thought. The story of Prometheus has its fullest elaboration in Hesiod’s Theogony and we will attend to this tale in the second half of the chapter.2 The myth of Pygmalion also has several versions including many neoclassical and more contemporary re-tellings.3 The stories represent two different paradigms for creation, although they contain overlapping elements. The case of Prometheus is a model for creation that emphases theft and punishment, while the story of Pygmalion offers us an account of creation based upon illusion and misidentification. The former is a tale of inscription and disruption, the latter myth concerns representation and misreading. -
2015 Prog.Indd
KIMPTON ART SHOW 2015 Friday 1st May till Monday 4th May My Word Communications Ltd is delighted to be sponsoring the Kimpton Art Show 2015. For more information on how My Word can help manage your business reputation please contact Charlotte Knight, [email protected] www.mywordcommunications.com A5 Advert_2015_AW_V2.indd 1 15/04/2015 16:58 nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn Kimpton Art Show 2015 This is the 34th year that the village has hosted an art exhibition in the beautiful surroundings of this magnificent building, and it is my pleasure to welcome you all to the Kimpton Art Show in 2015. I hope that you will enjoy viewing the exhibition that is assembled here as well as the opportunity to meet friends and artists, to enjoy a glass of wine and to listen to the musicians. If you are a regular visitor to our Show you will no doubt recognise a number of the artists. We are fortunate to have a significant number who have come to Kimpton to exhibit and sell their work for many years. Many of them now have a loyal following here and we appreciate their continuing support. This year we are exhibiting the work of 104 artists from across the region. That is ten more than last year and this gives us some confidence that the Show continues to provide an attractive opportunity. Hanging on the walls of the church are over 300 of their framed paintings and other artworks. We were very pleased to see ten photographers submitting their work this year. That is a significant increase over previous years and perhaps is a reflection of the high level of sales that the photographers have enjoyed in the recent past. -
Appendix: More on Methodology
Appendix: More on Methodology Over the years my fi rst monograph, The Nature of Fascism (1991), has been charged by some academic colleagues with essentialism, reductionism, ‘revisionism’, a disinterest in praxis or material realities, and even a philosophical idealism which trivializes the human suffering caused by Hitler’s regime. It is thus worth offering the more methodologically self-aware readers, inveterately sceptical of the type of large-scale theorizing (‘metanarration’) that forms the bulk of Part One of this book, a few more paragraphs to substantiate my approach and give it some sort of intellectual pedigree. It can be thought of as deriving from three lines of methodological inquiry – and there are doubtless others that are complementary to them. One is the sophisticated (but inevitably contested) model of concept formation through ‘idealizing abstraction’1 which was elaborated piece-meal by Max Weber when wrestling with a number of the dilemmas which plagued the more epistemologically self-aware academics engaged in the late nineteenth-century ‘Methodenstreit’. This was a confl ict over methodology within the German human sciences that anticipated many themes of the late twentieth-century debate over how humanities disciplines should respond to postmodernism and the critical turn.2 The upshot of this line of thinking is that researchers must take it upon themselves to be as self-conscious as possible in the process of constructing the premises and ‘ideal types’ which shape the investigation of an area of external reality. Nor should they ever lose sight of the purely heuristic nature of their inquiry, and hence its inherently partial, incomplete nature. -
Laughing with Kafka After Promethean Shame
PROBLEMI INTERNATIONAL,Laughing with vol. Kafka 2, no. 2,after 2018 Promethean © Society for Shame Theoretical Psychoanalysis Laughing with Kafka after Promethean Shame Jean-Michel Rabaté We have learned that Kafka’s main works deploy a fully-fledged political critique whose main weapon is derision.1 This use of laughter to satirize totalitarian regimes has been analyzed under the name of the “political grotesque” by Joseph Vogl. Here is what Vogl writes: From the terror of secret scenes of torture to childish officials, from the filth of the bureaucratic order to atavistic rituals of power runs a track of comedy that forever indicates the absence of reason, the element of the arbitrary in the execution of power and rule. How- ever, the element of the grotesque does not unmask and merely denounce. Rather it refers—as Foucault once pointed out—to the inevitability, the inescapability of precisely the grotesque, ridicu- lous, loony, or abject sides of power. Kafka’s “political grotesque” displays an unsystematic arbitrariness, which belongs to the func- tions of the apparatus itself. […] Kafka’s comedy turns against a diagnosis that conceives of the modernization of political power as 1 This essay is a condensed version of the second part of Kafka L.O.L., forthcoming from Quodlibet in 2018. In the first part, I address laughter in Kaf- ka’s works, showing that it takes its roots in the culture of a “comic grotesque” dominant in Expressionist German culture. Günther Anders’s groundbreaking book on Kafka then highlights the political dimensions of the work while criti- cizing Kafka’s Promethean nihilism. -
Archaeology, Classics and Contemporary Culture
7 ARCHAEOLOGY, CLASSICS AND CONTEMPORARY CULTURE But while all this troubles brewing what's the Prussian monarch doing? We read in his own writing, how, while all Europe geared for righting, England, Belgium, France, Russia but not of course his peaceful Prussia, what was Kaiser Wilhelm II up to? Excavating on Corfu, the scholar Kaiser on the scent of long lost temple pediment not filling trenches, excavating the trenches where the Gorgons waiting there in the trenches to supervise the unearthing of the Gorgons eyes. This isn't how warmongers are this professor in a panama stooping as the spades laid bare the first glimpses of' her snaky hair. The excavator with his find a new art treasure for mankind. (Tony Harrison, The Gaze of the Gorgon) At the turn of the century the German Kaiser bought a retreat on the island of Corfu which had belonged to Elizabeth, Empress of Austria prior to her assassination in 1899. She had brought with her a statue of Heinrich Heine, German Romantic poet and dissident Jew, rejected by his fatherland. The Kaiser evicted the statue again, not liking what it stood for (subversive radical democratic Jew) and, while Europe prepared for war, claimed he was excavating the pediment of a Greek temple (of the seventh century and dedicated to Artemis) which featured a giant Gorgon sculpted in stone. In the poem-film The Gaze of the Gorgon, Tony Harrison traces the fortunes of the statue of Heine transplanted through Europe, to its resting place in 169 CLASSICAL ARCHAEOLOGY OF GREECE Toulon, France. -
MARJORIE BEEBE—Ian
#10 silent comedy, slapstick, music hall. CONTENTS 3 DVD news 4Lost STAN LAUREL footage resurfaces 5 Comedy classes with Britain’s greatest screen co- median, WILL HAY 15 Sennett’s comedienne MARJORIE BEEBE—Ian 19 Did STAN LAUREL & LUPINO LANE almost form a team? 20 Revelations and rarities : LAUREL & HARDY, RAYMOND GRIFFITH, WALTER FORDE & more make appearances at Kennington Bioscope’s SILENT LAUGHTER SATURDAY 25The final part of our examination of CHARLEY CHASE’s career with a look at his films from 1934-40 31 SCREENING NOTES/DVD reviews: Exploring British Comedies of the 1930s . MORE ‘ACCIDENTALLY CRITERION PRESERVED’ GEMS COLLECTION MAKES UK DEBUT Ben Model’s Undercrank productions continues to be a wonderful source of rare silent comedies. Ben has two new DVDs, one out now and another due WITH HAROLD for Autumn release. ‘FOUND AT MOSTLY LOST’, presents a selection of pre- LLOYD viously lost films identified at the ‘Mostly Lost’ event at the Library of Con- gress. Amongst the most interesting are Snub Pollard’s ‘15 MINUTES’ , The celebrated Criterion Collec- George Ovey in ‘JERRY’S PERFECT DAY’, Jimmie Adams in ‘GRIEF’, Monty tion BluRays have begun being Banks in ‘IN AND OUT’ and Hank Mann in ‘THE NICKEL SNATCHER’/ ‘FOUND released in the UK, starting AT MOSTLY LOST is available now; more information is at with Harold Lloyd’s ‘SPEEDY’. www.undercrankproductions.com Extra features include a com- mentary, plus documentaries The 4th volume of the ‘ACCIDENTALLY PRESERVED’ series, showcasing on Lloyd’s making of the film ‘orphaned’ films, many of which only survive in a single print, is due soon. -
The Complete Stories
The Complete Stories by Franz Kafka a.b.e-book v3.0 / Notes at the end Back Cover : "An important book, valuable in itself and absolutely fascinating. The stories are dreamlike, allegorical, symbolic, parabolic, grotesque, ritualistic, nasty, lucent, extremely personal, ghoulishly detached, exquisitely comic. numinous and prophetic." -- New York Times "The Complete Stories is an encyclopedia of our insecurities and our brave attempts to oppose them." -- Anatole Broyard Franz Kafka wrote continuously and furiously throughout his short and intensely lived life, but only allowed a fraction of his work to be published during his lifetime. Shortly before his death at the age of forty, he instructed Max Brod, his friend and literary executor, to burn all his remaining works of fiction. Fortunately, Brod disobeyed. Page 1 The Complete Stories brings together all of Kafka's stories, from the classic tales such as "The Metamorphosis," "In the Penal Colony" and "The Hunger Artist" to less-known, shorter pieces and fragments Brod released after Kafka's death; with the exception of his three novels, the whole of Kafka's narrative work is included in this volume. The remarkable depth and breadth of his brilliant and probing imagination become even more evident when these stories are seen as a whole. This edition also features a fascinating introduction by John Updike, a chronology of Kafka's life, and a selected bibliography of critical writings about Kafka. Copyright © 1971 by Schocken Books Inc. All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Schocken Books Inc., New York. Distributed by Pantheon Books, a division of Random House, Inc., New York. -
The Rita Williams Popular Song Collection a Handlist
The Rita Williams Popular Song Collection A Handlist A wide-ranging collection of c. 4000 individual popular songs, dating from the 1920s to the 1970s and including songs from films and musicals. Originally the personal collection of the singer Rita Williams, with later additions, it includes songs in various European languages and some in Afrikaans. Rita Williams sang with the Billy Cotton Club, among other groups, and made numerous recordings in the 1940s and 1950s. The songs are arranged alphabetically by title. The Rita Williams Popular Song Collection is a closed access collection. Please ask at the enquiry desk if you would like to use it. Please note that all items are reference only and in most cases it is necessary to obtain permission from the relevant copyright holder before they can be photocopied. Box Title Artist/ Singer/ Popularized by... Lyricist Composer/ Artist Language Publisher Date No. of copies Afrikaans, Czech, French, Italian, Swedish Songs Dans met my Various Afrikaans Carstens- De Waal 1954-57 1 Afrikaans, Czech, French, Italian, Swedish Songs Careless Love Hart Van Steen Afrikaans Dee Jay 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Ruiter In Die Nag Anton De Waal Afrikaans Impala 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Van Geluk Tot Verdriet Gideon Alberts/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs Wye, Wye Vlaktes Martin Vorster/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs My Skemer Rapsodie Duffy -
2008 Convention Program Book
F6 Flute,HighWinds 36th Annual National Flute Association Convention August 7-10,2008 Kansas City, MO 2 nfaonline.org JIM WALKER DEPENDS ON YAMAHA. Congratulations on receiving the National Flute Association Lifetime Achievement Award ©2008 Yamaha Corporation of America. All rights reserved. www.yamaha.com nfaonline.org 3 2 Shaker Road #D107 · Shirley, MA 01464 USA www.burkart.com See us at booths 209 & 211 4 nfaonline.org Welcome to Kansas City, F6 Flute—High Winds!— the 36th annual convention of the National Flute Association our officers, board of directors, CEO Phyllis YPemberton, and her staff welcome you and are delighted that you are here. We look forward to greeting each of you! We are grateful to program chair Jonathan Patti Adams Keeble, who has spent the past two years creating this high-energy whirlwind of events for all of us to enjoy. His imaginative planning, organizational skills, and great humor through it all have been wondrous to behold. We thank him, the local volunteer committee in Kansas City, and all of the NFA’s innumerable and indefatigable volunteer committees who, with their remarkable work throughout the year, have made this convention possible. Have you ever experienced the exhibit hall at our conventions? It is an amazing F6 vortex of sights and sounds, with displays from the world’s finest flute manufacturers, music publishers, and innovators. These exhibitors are showcasing for you the latest technological marvels of our industry, and we are grateful to each of them for their participation. In the exhibit hall, you’ll also find my N’Awlins neighbors, exhibits manager extraordinaire, Jim Magee, and his assistant, Patti McCleney. -
Hybrid Monsters
HYBRID MONSTERS IN THE CLASSICAL WORLD THE NATURE AND FUNCTION OF HYBRID MONSTERS IN GREEK MYTHOLOGY, LITERATURE AND ART by Liane Posthumus Thesis presented in partial fulfilment of the requirements for the degree Master of Philosophy in Ancient Cultures at the University of Stellenbosch Supervisor: Prof. J.C. Thom Co-supervisor: Dr. S. Thom Faculty of Arts and Social Sciences Department of Ancient Studies March 2011 Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the authorship owner thereof (unless to the extent explicitly otherwise stated) and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Date: 28 February 2011 Copyright © 2010 University of Stellenbosch All rights reserved i ABSTRACT The aim of this thesis is to explore the purpose of monster figures by investigating the relationship between these creatures and the cultures in which they are generated. It focuses specifically on the human-animal hybrid monsters in the mythology, literature and art of ancient Greece. It attempts to answer the question of the purpose of these monsters by looking specifically at the nature of man- horse monsters and the ways in which their dichotomous internal and external composition challenged the cultural taxonomy of ancient Greece. It also looks at the function of monsters in a ritual context and how the Theseus myth, as initiation myth, and the Minotaur, as hybrid monster, conforms to the expectations of ritual monsters. The investigation starts by considering the history and uses of the term “monster” in an attempt to arrive at a reasonable definition of monstrosity. -
The Project Gutenberg Ebook of Bulfinch's Mythology: the Age of Fable, by Thomas Bulfinch
The Project Gutenberg EBook of Bulfinch's Mythology: The Age of Fable, by Thomas Bulfinch This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Bulfinch's Mythology: The Age of Fable Author: Thomas Bulfinch Posting Date: February 4, 2012 [EBook #3327] Release Date: July 2002 First Posted: April 2, 2001 Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK BULFINCH'S MYTHOLOGY: AGE OF FABLE *** Produced by an anonymous Project Gutenberg volunteer. BULFINCH'S MYTHOLOGY THE AGE OF FABLE Revised by Rev. E. E. Hale CONTENTS Chapter I Origin of Greeks and Romans. The Aryan Family. The Divinities of these Nations. Character of the Romans. Greek notion of the World. Dawn, Sun, and Moon. Jupiter and the gods of Olympus. Foreign gods. Latin Names.-- Saturn or Kronos. Titans. Juno, Vulcan, Mars, Phoebus-Apollo, Venus, Cupid, Minerva, Mercury, Ceres, Bacchus. The Muses. The Graces. The Fates. The Furies. Pan. The Satyrs. Momus. Plutus. Roman gods. Chapter II Roman Idea of Creation. Golden Age. Milky Way. Parnassus. The Deluge. Deucalion and Pyrrha. Pandora. Prometheus. Apollo and Daphne. Pyramus and Thisbe. Davy's Safety Lamp. Cephalus and Procris Chapter III Juno. Syrinx, or Pandean Pipes. Argus's Eyes. Io. Callisto Constellations of Great and Little Bear. Pole-star. Diana. Actaeon. Latona. Rustics turned to Frogs. Isle of Delos. Phaeton. -
Researching and Sharing Edgar Family History No. 55, August 2011
EEddggaarr EEvveennttss Researching and sharing Edgar family history No. 55, August 2011 DNA Update by James Edgar ([email protected]) We have four tests waiting in the wings... The first is for Richard Edgar of Alexandria, Virginia. Richard is keen on discovering his Haplotype and has sent his swabs away for analysis already. His name came to us through Jennifer Edgar Cann of South Carolina. The second test is for Terry Edgar of Glengowrie, Adelaide, Australia. We suspect he’s related to my group as an I1, but we’ll let the test results prove his lineage. Terry is Adrian Edgar’s younger brother, who we’ve been in conversation with for the past few months. Both brothers descend from the same line as Peter Edgar, of Canberra, Australia, who has been in our family group almost since the beginning – he is one of the earlier testers. This is from one of Peter’s emails of a few years back: I trace my descent through my father Don, his father Richard, his father Hugh and his father John Edgar (known as ‘McPherson’ Edgar, I don’t know why). John ‘McPherson’ Edgar came to South Australia (Adelaide) in 1848 aged 20, a Scottish labourer. He died in 1893, a well respected pioneer. (The British Colony of SA was established only in 1836). After early years at Glen Osmond (now an Adelaide suburb), he had earned a living as a dairyman and the owner/operator of a small shop, owning three adjoining properties in Halifax St, Adelaide. His last years were spent working as a brewer.