ONE OR MANY MILITES? MILITARY MULTIPLICITY IN LATIN EPIC

Ramus ◽  
2020 ◽  
Vol 49 (1-2) ◽  
pp. 111-132
Author(s):  
Hannah-Marie Chidwick
Keyword(s):  
Gilles Deleuze ◽  
Continental Philosophy ◽  
Classical Antiquity ◽  
Felix Guattari ◽  
Methodological Framework ◽  
Special Edition ◽  
The Arts ◽  
Latin Epic ◽  
Late Twentieth ◽  
Late Twentieth Century

Since Gilles Deleuze and Félix Guattari emerged into the realm of Continental philosophy in the late twentieth century, the pair have sustained a prominent and influential presence in the fields of cultural studies, politics and sociology, also literary, artistic and cinematic scholarship, spurred on by the appropriation of the arts in Deleuze and Guattari's own work. The contributions to this special edition bring to light how the rubble-strewn textual field of Classical antiquity also ineludibly invites a methodological framework informed by Deleuze and Guattari's philosophy. By its contemporary nature, the Classical ‘canon’ is a warzone of competing translations, fragments and fragmentary orders, de- and re-constructions, bearing a torrid resemblance to the flattened and interconnected plane of existence described in Deleuze and Guattari's work. The pair draw from multiple avenues of academic exploration and encourage the seed-like spread of their multifarious ideas. This article makes a case for employing one concept in particular as a practice for reading Classical texts: ‘multiplicity’.

BACK ON CIRCE'S ISLAND

Ramus ◽  
2020 ◽  
Vol 49 (1-2) ◽  
pp. 213-235
Author(s):  
Michiel van Veldhuizen
Keyword(s):  
Science Fiction ◽  
Analogical Reasoning ◽  
Gilles Deleuze ◽  
Margaret Atwood ◽  
Classical Antiquity ◽  
Felix Guattari ◽  
Dio Chrysostom ◽  
The Witch ◽  
The Moment ◽  
Physical Degradation

The reception of Circe's island in and through Classical Antiquity has largely focused on the enigmatic sorceress herself. The long literary chain of interpretive topoi—Circe the witch, the whore, the temptress—stretches from Apollonius, Virgil, Ovid, and Dio Chrysostom to Spenser, Calderón, Joyce, Margaret Atwood, and Madeline Miller. Her role as Odysseus’ benefactor, so unmistakable in Homer, is soon forgotten; to Virgil, she is above all dea saeva, (‘the savage goddess’, Aen. 7.19). One distinguishing feature of Circe and her reception is the focus on representation: the enchantment of Circe, as Greta Hawes puts it, is above all a study in allegory. From the moment Circe put a spell on Odysseus’ companions, transforming them into animals in Book 10 of the Odyssey, Circe has invited analogical reasoning, centered on what the transformation from one being into another represents. More often than not, this transformation is interpreted according to a dualist thinking about humans and animals: subjects are transformed from one being into another being, thus representing some moral or physical degradation. This article, by contrast, concentrates on Circe's island through the lens of becoming-animal, the concept developed by Gilles Deleuze and Félix Guattari in the tenth plateau of A Thousand Plateaus, ‘1730: Becoming-Intense, Becoming-Animal, Becoming-Imperceptible…’. I explicate the concept of becoming-animal by applying it to a Deleuzian encounter with Circe's island, both in its ancient articulations and in its various receptions, including H.G. Wells's science fiction novel The Island of Dr. Moreau.

Subject, postmodern critique of

2018 ◽  
Author(s):  
Laura Hengehold
Keyword(s):  
Subjective Experience ◽  
Continental Philosophy ◽  
The Body ◽  
Cultural Conditions ◽  
External Conditions ◽  
Late Twentieth ◽  
The Subject ◽  
Conditions Of Possibility ◽  
Material Conditions ◽  
Late Twentieth Century

The critique of the subject in late twentieth-century continental philosophy is associated primarily with the work of Foucault, Derrida, Lacan and Deleuze. Driven by philosophical, political and therapeutic concerns, these thinkers question the subject’s ability to declare itself self-evidently independent of the external conditions of its own possibility, such as the language in which it expresses clear and distinct ideas, the body whose deceptions it fears, and the historical or cultural conditions in which it perceives reason or tyranny. Moreover, they fear that the ethical price of such insistence upon absolute self-possession is the exclusion and oppression of social groups whose supposed irrationality or savagery represent the self’s own rejected possibilities for change and discovery. Their work draws upon Marxist, Freudian and Nietzschean insights concerning the dependence of consciousness upon its material conditions, unconscious roots, or constituting ‘outside’. However, their use of these influences is guided by a common fidelity to Kant’s search for the ‘conditions of possibility’ underlying subjective experience, as well as his scepticism regarding our capacity to know the self and its motivations as objects ‘in themselves’.

Closer Still: The Total Artwork

Lyric Cousins ◽  
2016 ◽  
Author(s):  
Fiona Sampson
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Richard Wagner ◽  
Interior Decoration ◽  
Late Eighteenth Century ◽  
The Arts ◽  
Late Eighteenth ◽  
The Future ◽  
Late Twentieth ◽  
Late Twentieth Century

This chapter considers the Gesamtkunstwerk, which English musicologists translate as ‘total artwork’. Richard Wagner had used the expression to characterise his operas, though he had only ever used the term in two essays, both published in 1849: ‘Art and Revolution’ and ‘The Artwork of the Future’. Moreover, the term did not originate from Wagner himself, and he did not even spell it in the conventional way. Since the late twentieth century ‘Gesamtkunstwerk’ has been applied to other artforms, particularly architecture, which like opera can unite a number of elements. (Architecture, for example, marries engineering, landscaping and interior decoration, among others.) But the term's origins are in the late eighteenth-century notion that all the arts could be unified in poetry.

Architecture

2021 ◽  
Author(s):  
Lori Smithey
Keyword(s):  
Twentieth Century ◽  
Arts And Crafts ◽  
Art Nouveau ◽  
Late Capitalism ◽  
Scientific Methods ◽  
Managerial Practices ◽  
The Arts ◽  
Late Twentieth ◽  
The Aesthetic ◽  
Late Twentieth Century

This article examines how decadence inflected modern architectural thought from the late eighteenth to the late twentieth century, starting with the polemical writings of the French architect Charles-François Viel, who dismissed scientific methods and engineering techniques as inferior to classical tradition. Later, decadence played a part in the Arts and Crafts critique of mechanized industrial production as well as twentieth-century condemnations of the managerial practices of late capitalism. Nevertheless, fin-de-siècle decadent culture also influenced architectural designers and theorists, exemplified by the art nouveau stylings of Charles Rennie Mackintosh and the theoretical writings of Ralph Adams Cram and Geoffrey Scott. From concerns about the sources and causes of social decadence to the aesthetic influence of decadent culture, the works explored here trace interchanges between decadence and modern conceptions of architecture.

Introduction: The Secret of Life

2020 ◽  
pp. 1-25
Author(s):  
Clare Hanson
Keyword(s):  
Twentieth Century ◽  
Environmental Factors ◽  
Human Nature ◽  
Social Constructivism ◽  
Popular Science ◽  
First Century ◽  
The Arts ◽  
Late Twentieth ◽  
Late Twentieth Century ◽  
Biological Account

This chapter outlines the debates over the genetic origins of human nature which form the wider context of the literature discussed in this book. It traces the rise of gene-centric neo-Darwinism in the late twentieth century and its mediation by popular science books which made claims about the causes of human behaviour which directly challenged humanistic values. It explores the ways in which novelists responded to this challenge, at a time when the arts and social sciences espoused social constructivism and were opposed to any biological account of human nature. It then considers the factors which have brought about a rapprochement between literature and biology, as genetic determinism has been supplanted by a post-genomic perspective which emphasizes the openness of the genome to environmental factors, while twenty-first century writers and philosophers increasingly represent humans and the environment as mutually constitutive.

scholarly journals Ontology and Anti-Platonism: Reconsidering Colin Gunton’s Trinitarian Theology

2020 ◽  
Vol 62 (4) ◽  
pp. 419-440
Author(s):  
King-Ho Leung
Keyword(s):  
Twentieth Century ◽  
Martin Heidegger ◽  
Gilles Deleuze ◽  
Trinitarian Theology ◽  
Late Twentieth ◽  
European Thought ◽  
Late Twentieth Century

SummaryThis article offers a reading of Colin Gunton’s trinitarian theology in light of recent theological attempts to develop accounts of ‘new trinitarian ontologies’ in a strongly Christian Neo-Platonic vein. In particular, this article seeks to situate Gunton’s work within the broader context of late twentieth-century European thought by comparing his ‘trinitarian ontology’ to the anti-Platonic ontologies of Martin Heidegger and Gilles Deleuze. By way of considering the ‘anti-Platonic’ aspects of Gunton’s trinitarian theology, this article presents his theological project as a testcase which highlights the stakes in constructing ‘new’ trinitarian ontologies as well as possible objections to the affirmative attitude towards Christian Neo-Platonism in contemporary theological metaphysics.

Overview

Art Scents ◽  
2020 ◽  
pp. 255-260
Author(s):  
Larry Shiner
Keyword(s):  
Everyday Life ◽  
Aesthetic Experience ◽  
Fine Arts ◽  
The Other ◽  
Main Concern ◽  
The Arts ◽  
Aesthetic Practice ◽  
Late Twentieth ◽  
The One ◽  
Late Twentieth Century

In this final part of the book we turn to three areas of aesthetic practice that raise unavoidable ethical as well as aesthetic issues. If we are to do justice to both the aesthetics and ethics of scenting bodies, places, and foods, we will need an understanding of aesthetic experience and judgment that goes beyond views of aesthetics based primarily on the appreciation of the fine arts. On the one hand, not even all fine artworks have been meant to be experienced purely aesthetically, but also to engage us morally, religiously, or politically. On the other hand, aesthetic experience itself has always been concerned with nature, design, and everyday life in addition to the arts. Although Kant’s aesthetic was framed with nature as well as the arts in mind, from Hegel down into the late twentieth century philosophical aesthetics focused most of its attention on the fine arts. But thanks to the pioneering work of Ronald Hepburn, Arnold Berleant, Allen Carlson, and others, the aesthetics of nature has received increased attention in recent decades. We will consider some of this work in a later interlude on smell in nature. In the case of design and everyday life, which will be the main concern of ...

scholarly journals "I've been a whizz-kid since I've been at college": Giving voice to the collective memories of adults with learning disabilities about the role that technology has played in their lives

2019 ◽  
Vol 39 (4) ◽  
Author(s):  
Jane Seale ◽  
Ajay Choksi ◽  
Karen Spencer
Keyword(s):  
Learning Disabilities ◽  
Technology Use ◽  
Methodological Framework ◽  
Collective Memories ◽  
Adults With Learning Disabilities ◽  
History Of ◽  
Late Twentieth ◽  
The Uk ◽  
The Impact ◽  
Late Twentieth Century

The focus of this paper is the history of technology use by people with learning disabilities in the UK in the late twentieth century and the impact that technology has had on the lives of people with learning disabilities. A methodological framework, underpinned by the principles of inclusivity, transparency and reciprocity was employed to enable eight adults with learning disabilities to share their memories of using technologies, from childhood to the present day. Our analysis of these histories challenge notions of deficit, dependency and inequality that are traditionally associated with people with learning disabilities.

8. Against universalism

2021 ◽  
pp. 110-124
Author(s):  
Jennifer Ratner-Rosenhagen
Keyword(s):  
Twentieth Century ◽  
Political Theory ◽  
Identity Politics ◽  
Culture Wars ◽  
Scientific Revolutions ◽  
Structure Of Scientific Revolutions ◽  
The Arts ◽  
Late Twentieth ◽  
Late Twentieth Century ◽  
American Thought

‘Against universalism’ explores the myriad challenges to universalism—in philosophy, social and political theory, and the arts—during the late twentieth century. It opens with a new view of 1960s radicalism, showing how its various quests for liberation radiated out into all arenas of American thought. Thomas Kuhn’s The Structure of Scientific Revolutions (1962) helped pave the way for the fire and fury of postmodernism, though many of the antiessentialist ideas of postmodernism were already present in early twentieth-century was rooting in dramatic transformations of thought. The 1980s and 1990s gave rise to identity politics and the culture wars, further challenging the notion of unified American ideals and identity.

The Pathway Between Art and Science: One Painter's Metaphorical Journey

Leonardo ◽  
2000 ◽  
Vol 33 (3) ◽  
pp. 191-196
Author(s):  
Guy Levrier
Keyword(s):  
Twentieth Century ◽  
Abstract Art ◽  
Collective Unconscious ◽  
Art And Science ◽  
Artistic Process ◽  
The Arts ◽  
Late Twentieth ◽  
Late Twentieth Century

The author describes his un-derstanding of the place and pur-pose of his art in the context of our late twentieth century: as an artist, he does not accept a place in the current “death of art” situa-tion. He agrees that abstract art is not self-explanatory although its meaning exists in the collective unconscious. To explain his effort, he has found metaphors in quan-tum physics that enable him to link his artistic process to the dy-namics of progress found in sci-ence rather than to those of re-gression found in the arts.

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