The Troubles with Postmodernism
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Curriculum Vitae
JOSEPH ACQUISTO Professor of French Chair, Department of Romance Languages and Linguistics University of Vermont 517 Waterman Building Burlington, VT 05405 [email protected] (802) 656-4845 EDUCATION Yale University Ph.D., Department of French (2003) M.Phil., French (2000) M.A., French (1998) University of Dayton B.A., summa cum laude, French (1997) B.Mus., summa cum laude, voice performance (1997) EMPLOYMENT HISTORY Chair, Department of Romance Languages and Linguistics, University of Vermont 2016-present Professor of French, University of Vermont 2014-present Associate Professor of French with tenure, University of Vermont 2009-2014 Assistant Professor of French, University of Vermont 2003-2009 BOOKS 7. Poetry’s Knowing Ignorance, under consideration 6. Proust, Music, and Meaning: Theories and Practices of Listening in the Recherche, New York: Palgrave Macmillan, 2017. 5. The Fall Out of Redemption: Writing and Thinking Beyond Salvation in Baudelaire, Cioran, Fondane, Agamben, and Nancy. New York: Bloomsbury, 2015. Paperback edition 2016. 4. Poets as Readers in Nineteenth-Century France: Critical Reflections, co-edited volume with Adrianna M. Paliyenko and Catherine Witt. London: Institute of Modern Languages Research, 2015. 3. Thinking Poetry: Philosophical Approaches to Nineteenth-Century French Poetry, edited volume. New York: Palgrave Macmillan, 2013. 1 2. Crusoes and Other Castaways in Modern French Literature: Solitary Adventures. Newark: University of Delaware Press, 2012. Paperback edition 2014. 1. French Symbolist Poetry and the Idea of Music. Aldershot: Ashgate, 2006. EDITED SPECIAL ISSUE The Cultural Currency of Nineteenth-Century French Poetry, a special double issue of Romance Studies (26:3-4, July/November 2008) co-edited and prefaced with Adrianna M. -
Creativity Book 2013
CREATIVITY : PRODUCT , PROCESS , PERSONALITY , ENVIRONMENT AND TECHNOLOGY 2 SANDRA I. KAY DESIGNING ELEGANT PROBLEMS FOR CREATIVE THINKING Creative thinkers seek elegance in their work. An aesthetic sensibility accompanies creative work from the original vision or motivation to its use in identifying what many creators describe as an ‘elegant solution’. Examples of this characteristic can be identified in most, if not all fields. If one defines creative thought in develop- mental terms, as “a process in which the individual finds, defines, or discovers an idea or problem not predetermined by the situation or task” (Kay 1989, p.65), then the importance of guidance by an aesthetic sensibility becomes more visible. We can see elegant solutions all around us. This chapter will look at what has been said about elegant solutions by a few creative producers and a few examples of elegant solutions that can affect our environment prior to introducing the con- cept of elegant problems. Elegant Problems address the what, not the how of creative teaching and learning. Aesthetic Sensibility, Deep Problems and Elegant Solutions in the Sci- ences The ability to appreciate the beauty of a solution has been noted by scientists, mathematicians, and artists. The term ‘Elegant Solution” is used across disciplines and time to describe the result of creative thought. For example, Campbell (1960) cites its importance with the words of the mathematician Poincare: The useful combinations are precisely the most beautiful, I mean those best able to charm this special sensibility that all mathematicians know, but of which the profane are so ignorant as often to be tempted to smile at it…. -
PLANNING and INSTALLATION GUIDE PLANNING and INSTALLATION GUIDE Finished Elegance™ Finished Elegance™ SPANISH TRANSLATION SPANISH TRANSLATION
PLANNING AND INSTALLATION GUIDE PLANNING AND INSTALLATION GUIDE Finished Elegance™ Finished Elegance™ SPANISH TRANSLATION SPANISH TRANSLATION 6 Remember these safety tips and helpful Finished Elegance is a No Painting Required hints before getting started interior moulding. Just cut, install and caulk. Spanish translation lorem ipsum dolor evat sit quis magnithit 100% satisfaction guarenteed. ■ Always wear eye, ear, and respiratory protection when doing any home improvement project. Magnihit quiant vitatem dit quati odi se nis dipsandent faccusapere, quia vent volesti 1 Plan your Finished Elegance Project vent lacia expe quodit dis eatur, con nes prae quasintia perferestium ad ullabore Spanish translation lorem ipsum ■ Using a compound miter saw and a pneumatic nail gun ■ will not only make the installation process easier, it will Draw a floor plan of your room. (Fig 1) Use the grid also speed up the time required for installation. provided to plot your room. (1 squar e = 1 foot) Magnihit quiant vitatem dit quati odi se nis dipsandent faccusapere, quia vent volesti Magnihit quiant vitatem dit quati odi se nis dipsandent faccusapere, quia vent volesti vent lacia expe quodit dis eatur, con nes prae quasintia perferestium ad ullabore vent lacia expe quodit dis eatur, con nes prae quasintia perferestium ad ullabore minihit qui to commolu ptatus ma quiam expla ccaest exereicia ne mo ducilla ■ If you don’t own or want to purchase these tools, they cusaectas non net eum can be rented at The Home Depot Rental Center. ■ Measure each wall and note it on your plan. Magnihit quiant vitatem dit quati odi se nis dipsandent faccusapere, quia vent volesti Magnihit quiant vitatem dit quati odi se nis dipsandent faccusapere, quia vent volesti vent lacia expe quodit dis eatur, con nes prae quasintia perferestium ad ullabore vent lacia expe quodit dis eatur, con nes prae quasintia perfe restium ad ullabore ■ Also note the placement and size of any doors, windows, or openings in the room. -
A New Decade for Social Changes
Vol. 21, 2021 A new decade for social changes ISSN 2668-7798 www.techniumscience.com 9 772668 779000 Technium Social Sciences Journal Vol. 21, 846-852, July, 2021 ISSN: 2668-7798 www.techniumscience.com The concept of transcendence in philosophy and theology Petrov George Daniel Theology Faculty, Ovidius University – Constanța, România [email protected] Abstract. The transcendence of God is the most sensitive and profound subject that could be addressed by the most enlightened minds of the world. In sketching this concept, the world of philosophy and that of theology are trying the impossible: to define the Absolute. Each approach is different, the first being subjected to reason, reaching specific conclusions, and the second, by understanding God's Personal character, appealing to the experience of living your life in God. The debate between the two worlds, that of philosophy and that of theology can only bring a plus to knowledge, while impressing any wisdom lover. Keywords. God, transcendence, immanence, Plato, Cioran, Heidegger, Hegel, Stăniloae I. Introduction The concept of transcendence expresses its importance through its ability to attract the intellect into deep research, out of a desire to express the inexpressible. The God of Theology was often named and defined by the world of philosophy in finite words, that could not encompass the greatness of the inexpressible. They could, however, rationally describe the Divinity, based on the similarities between the divine attributes and those of the world. Thus, in the world of great thinkers, God bears different names such as The Prime Engine, out of a desire to highlight the moment zero of time, Absolute Identity and even Substance, to express the immateriality of the Cause of all causes. -
Emil Cioran – a Deconstructive Philosophy
EMIL CIORAN – A DECONSTRUCTIVE PHILOSOPHY Angela Botez∗∗∗ [email protected] Abstract: For Cioran, expressing (something, someone) is the same with a postponed ripost or an aggression left for lateron and his writing is a solution, not to act, to avoid a crisis. His indignation is not as much a moral outset, as it is a literary one, the resort of inspiration, while wisdom wearies us of any momentum. The writer is a lunatic who uses in curative purposes these fictions we call words. For the Romanian philosopher the most uncomfortable relation is precisely with philosophy explaining that meeting the idea face to face incites us to talk nonsense, and clouds our judgement and produces the illusion of almightiness... All our deregulations and aberrations are triggered by the fight we lead with the irrealities, with the abstractions, with our will to conquer what does not exist, and from hereon also the impure, tiranical and delirious aspect of the philosophical works... Keywords: Emil Cioran, deconstructivism, antifoundationalism, philosophy of life, despair, and end of philosophy. Among the Romanian philosophers, the most explicit postmodern position of a deconstructive nihilistic type was Emil Cioran. In his work Exercises d’admiration: essais et portraits,1 published in the Romanian version by the Humanitas Publishing House in 1993, there is an article entitled Relecturing, resulted, according to the confession of the author, from the intention to present to the German readers his Précis de décomposition translated from French to German by Paul Celan, in 1953, and edited in 1978. The text gives a glimpse of the type of philosophy promoted by Emil Cioran, inscribed, obviously, among the postmodernist, antifoundationalist, nihilist, and deconstructivist tendencies. -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details. -
Aesthetics Into the Twenty-First Century Curtis Carter Marquette University, [email protected]
Marquette University e-Publications@Marquette Philosophy Faculty Research and Publications Philosophy, Department of 1-1-2007 Aesthetics into the Twenty-first Century Curtis Carter Marquette University, [email protected] Published version. Filozofski vestnik, Vol. 28, No. 2 (2007): 67-81. Permalink. © 2007 Open Humanities Press. Used with permission. Filozofski vestnik volume/letnik XXviii • number/Številka 2 • 2007 • 67–81 AestHetiCs into tHe TwentY-FiRst Century Curtis l. Carter 1. the question posed for this issue of Filozofski vestnik, “the Revival of Aesthetics,” concerns the reappearance of aesthetics as an important theo- retical realm in the international and various national discussions. Major so- cietal shifts of the twentieth and twenty-first centuries now require that aes- thetics become more engaged in the world beyond the narrow corridors of the academy. in the past, philosopher aestheticians mainly have been drawn to aspects of art, or the experience of art, as seen through metaphysical, epis- temological, linguistic, or phenomenological lenses. Metaphysics leads us to questions concerning the nature of art itself, and to the nature of aesthetic properties. epistemology focuses on questions of interpretation and evalua- tion of art and the experiences that art provides. linguistic studies focus on the arts as forms of symbolism with language-like features, yet distinct from other forms of symbolism. Phenomenology examines the inner experiences that an artist or a perceiver, respectively, might undergo in the processes of making or responding to a work of art. A lesser number of aestheticians, beginning with Plato and extending to the present, also have considered questions relating to the societal roles that art might play in a constructive re-shaping of, or in some instances, endangering the well being of society. -
University of Oklahoma Graduate College
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by SHAREOK repository UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE LIFE AND WORK OF GRETEL KARPLUS/ADORNO: HER CONTRIBUTIONS TO FRANKFURT SCHOOL THEORY A Dissertation SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of Doctor of P hilosophy BY STACI LYNN VON BOECKMANN Norman, Oklahoma 2004 UMI Number: 3147180 UMI Microform 3147180 Copyright 2005 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, MI 48106-1346 THE LIFE AND WORK OF GRETEL KARPLUS/ADORNO: HER CONTRIBUTIONS TO FRANKFURT SCHOOL THEORY A Dissertation APPROVED FOR THE DEPARTMENT OF ENGLISH BY ____________________________ _ Prof. Catherine Hobbs (Chair) _____________________________ Prof. David Gross ____________________________ _ Assoc. Prof. Susan Kates _____________________________ Prof. Helga Madland _____________________________ Assoc. Prof. Henry McDonald © Copyright by Staci Lynn von Boeckmann 2004 All Rights Reserved To the memory of my grandmother, Norma Lee Von Boeckman iv Acknowledgements There a number of people and institutions whose contributions to my work I would like to acknowledge. For the encouragement that came from being made a Fulbright Alternative in 1996, I would like to thank t he Fulbright selection committee at the University of Oklahoma. I would like to thank the American Association of University Women for a grant in 1997 -98, which allowed me to extend my research stay in Frankfurt am Main. -
The Unspared Elegance of Marilyn Turtz on View at Dowling Walsh
The unspared elegance of Marilyn Turtz on view at Dowling Walsh pressherald.com/2017/05/28/the-unspared-elegance-of-marilyn-turtz-on-view-at-dowling-walsh/ By Daniel Kany May 28, 2017 The frame on a painting might act like the border between the art’s imagined world and the reality around it, but it also is a kind of flag that marks the start of the art experience for the viewer. The framing of art goes well beyond wooden rectangles and pedestals. Framing can include gallery walls, labels, lights, other works of art and so on. Dowling Walsh is a gallery that generally relies on traditional framing. Even with contemporary art, like the razor-sharp edges of Cig Harvey’s exquisite photos, the framing is clear. So it was an intriguing surprise to see the works in “Construct,” a curated group show more tethered to conceptualism than tradition. Aaron T Stephan’s stacks of cinder blocks spiraled up into the air: the blocks themselves are curved, and it is this undermining of their utility that frames them as art. One of Stephanie Cardon’s works also uses cinder blocks, but she uses them to support (and frame) threads that create moiré interference patterns. Such patterns create a perceptual frame since they appear, shift and move with the position of the viewer. ART REVIEW WHAT: Paintings by Marilyn Turtz and much more WHERE: Dowling Walsh Gallery, 365 Main St., Rockland WHEN: 10 a.m. to 5 p.m. Tuesday to Saturday; featured exhibition up through Memorial Day, but work will remain on view at gallery 1/5 MORE INFO: 596-0084, dowlingwalsh.com Search photos available for purchase: Photo Store → The most interesting aspect of “Construct,” however, is the inclusion of paintings by Elizabeth Fox and prints by Fairfield Porter (1907-1975). -
Post-Cinematic Affect
Post-Cinematic Affect Steven Shaviro 0 BOO KS Winchester, UK Washington, USA r First published by 0-Books, 2010 O Books ls an imprint of John Hunt Publishing Ltd., The Bothy, Deershot Lodge, Park Lane, Ropley, CONTENTS Hants, S024 OBE, UK [email protected] www.o-books.com For distributor details and how to order please visit the 'Ordering' section on oUr website. Text copyright Steven Shaviro 2009 Preface vii ISBN: 978 1 84694 431 4 1 Introduction All rights reserved. Except for brief quotations in critical articles or reviews, no part of 1 this book may be reproduced in any manner without prior written permission from 2 Corporate Cannibal the publishers. 11 3 Boarding Gate The rights of Steven Shaviro as author have been asserted in accordance with the Copyright, 35 1988. 4 Designs and Patents Act Southland Tales 64 5 A CIP catalogue record for this book is available from the British Library. Gamer 93 6 Coda Design: Stuart Davies 131 Printed In the UK by CPI Antony Rowe Works Cited 140 Endnotes 153 We operate a distinctive and ethical publishing philosophy in all areas of its business, from its global network of authors to production and worldwide distribution. Preface This book is an expanded version of an essay that originally appeared in the online journal Film-Philosophy. Earlier versions of portions of this book were delivered as talks sponsored by the Affective Publics Reading Group at the University of Chicago, by the film and media departments at Goldsmiths College, Anglia Ruskin University, University of the West of England, and Salford University, by the "Emerging Encounters in Film Theory" conference at Kings College, by the Experience Music Project Pop Conference, by the Nordic Summer University, by the Reality Hackers lecture series at Trinity University, San Antonio, and by the War and Media Symposium and the Humanities Center at Wayne State University. -
Avant-Gardes in Yugoslavia
Filozofski vestnik | Letnik XXXVII | Številka 1 | 2016 | 201–219 Miško Šuvaković* Avant-Gardes in Yugoslavia In this study, I will approach the avant-gardes as interdisciplinary, internation- ally oriented artistic and cultural practices.1 I will present and advocate the the- sis that the Yugoslav avant-gardes were a special geopolitical and geo-aesthetic set of artistic and cultural phenomena defined by the internal dynamics and interrelations of the Kingdom of Serbs, Croats, and Slovenes and the Kingdom of Yugoslavia and by the external dynamics, cosmopolitan relations, and inter- nationalisations of local artistic excess and experimentation with international avant-garde practices. I will devote special attention to the local and interna- tional networking of cities as the political and cultural environments where the avant-gardes took place. Above all, the avant-gardes thereby acquired the char- acter of extremely urban artistic and cultural phenomena. Introductory Interpretation of the Concept of the Avant-garde Discussing the status, functions, and effects of any avant-garde does not boil down to asking what phenomenal or conceptual, i.e. formalist, qualities are characteristic of an avant-garde work of art, the behaviour of an avant-garde artist, or her private or public life. On the contrary, equally important are direc- tional questions regarding the instrumental potentialities or realisations of the avant-garde as an interventional material artistic practice in between or against dominant and marginal domains, practices, or paradigms within historical or 201 present cultures. Avant-garde artistic practices are historically viewed as trans- formations of artistic, cultural, and social resistances, limitations, and ruptures within dominant, homogeneous or hegemonic artistic, cultural, and social en- vironments. -
The Benefits of Being a Suicidal Curmudgeon: Emil Cioran on Killing Yourself
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Faculty Scholarship 1-2021 The Benefits of Being a Suicidal Curmudgeon: Emil Cioran on Killing Yourself Glenn M. Trujillo Jr University of Louisville, [email protected] Follow this and additional works at: https://ir.library.louisville.edu/faculty Part of the Philosophy Commons Original Publication Information Trujillo, Jr., G.M. "The Benefits Of Being A Suicidal Curmudgeon: Emil Cioran On Killing Yourself." 2021. Southwest Philosophy Review 37(1): 219-228. ThinkIR Citation Trujillo, Glenn M. Jr, "The Benefits of Being a Suicidal Curmudgeon: Emil Cioran on Killing Yourself" (2021). Faculty Scholarship. 535. https://ir.library.louisville.edu/faculty/535 This Article is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. For more information, please contact [email protected]. The Benefi ts of Being a Suicidal Curmudgeon: Emil Cioran on Killing Yourself G. M. Trujillo, Jr. University of Louisville Abstract: Emil Cioran offers novel arguments against suicide. He assumes a meaningless world. But in such a world, he argues, suicide and death would be equally as meaningless as life or anything else. Suicide and death are as cumbersome and useless as meaning and life. Yet Cioran also argues that we should contemplate suicide to live better lives. By contemplating suicide, we confront the deep suffering inherent in existence. This humbles us enough to allow us to change even the deepest aspects of ourselves.