Thank Goodness that's Over

Philosophy ◽  
1959 ◽  
Vol 34 (128) ◽  
pp. 12-17 ◽  
Author(s):  
A. N. Prior
Keyword(s):  
Life Histories ◽  
Space Time ◽  
The Other ◽  
Sinai Peninsula ◽  
Promised Land ◽  
The World

In a pair of very important papers, namely “Space, Time and Individuals” (STI) in the Journal of Philosophy for October 1955 and “The Indestructibility and Immutability of Substances” (IIS) in Philosophical Studies for April 1956, Professor N. L. Wilson began something which badly needed beginning, namely the construction of a logically rigorous “substance-language” in which we talk about enduring and changing individuals as we do in common speech, as opposed to the “space-time” language favoured by very many mathematical logicians, perhaps most notably by Quine. This enterprise of Wilson's is one with which I could hardly sympathize more heartily than I do; and one wishes for this logically rigorous “substance-language” not only when one is reading Quine but also when one is reading many other people. How fantastic it is, for instance, that Kotarbinski1 should call his metaphysics “Reism” when the very last kind of entity it has room for is things—instead of them it just has the world-lines or life-histories of things; “fourdimensional worms”, as Wilson says. Wilson, moreover, has at least one point of superiority to another rebel against space-time talk, P. F. Strawson; namely he (Wilson) does seriously attempt to meet formalism with formalism—to show that logical rigour is not a monopoly of the other side. At another point, however, Strawson seems to me to see further than Wilson; he (Strawson) is aware that substance-talk cannot be carried on without tenses, whereas Wilson tries (vainly, as I hope to show) to do without them. Wilson, in short, has indeed brought us out of Egypt; but as yet has us still wandering about the Sinai Peninsula; the Promised Land is a little further on than he has taken us.

scholarly journals Three Mothers (2006) by Dina Zvi-Riklis: The Repressed Israeli Trauma of Immigration

Arts ◽  
2020 ◽  
Vol 9 (2) ◽  
pp. 71
Author(s):  
Yael Munk
Keyword(s):  
The Other ◽  
Jewish Family ◽  
Outstanding Achievement ◽  
Left Behind ◽  
The Past ◽  
Promised Land ◽  
Complex Approach ◽  
The World ◽  
The Individual ◽  
Jewish Religion

This article relates to the complex approach of Dina Zvi-Riklis’ film Three Mothers (2006) to immigration, an issue that is central to both the Jewish religion and Israeli identity. While for both, reaching the land of Israel means arriving in the promised land, they are quite dissimilar, in that one is a religious command, while the other is an ideological imperative. Both instruct the individual to opt for the obliteration of his past. However, this system does not apply to the protagonists of Three Mothers, a film which follows the extraordinary trajectory of triplet sisters, born to a rich Jewish family in Alexandria, who are forced to leave Egypt after King Farouk’s abdication and immigrate to Israel. This article will demonstrate that Three Mothers represents an outstanding achievement, because it dares to deal with its protagonists’ longing for the world left behind and the complexity of integrating the past into the present. Following Nicholas Bourriaud’s radicant theory, designating an organism that grows roots and adds new ones as it advances, this article will argue that, although the protagonists of Three Mothers never avow their longing for Egypt, the film’s narrative succeeds in revealing a subversive démarche, through which the sisters succeed in integrating Egypt into their present.

THE FIRST MAJOR CHALLENGE AGAINST THE BRITISH COLONIALISM BY THE NAGAS: 1879-1880 A CRITICAL APPRAISAL

2021 ◽  
pp. 29-31
Author(s):  
Talichuba Walling
Keyword(s):  
British Empire ◽  
Critical Appraisal ◽  
The Other ◽  
British Colonialism ◽  
State Of Nature ◽  
Promised Land ◽  
The World

The Nagas since time immemorial were never under any foreign powers. They lived in a state of nature where any principality that ever encompassed them was rudimentary, unscathed and the purest that nature could provide them. Their primordial worlds had endured for generations until the modern century without being bothered and unaware of what was happening around them. British Colonialism had shaken the world entirely right to its core; altering every fundamental structures in it. Nagas however continued to live in a state of perpetual bliss on this side of the 'promised land'. Not before long, the ray of the British Empire inltrated into the Naga territory and disturbed their ethnic environment. What another considered as a convenient expansion of power; turn out to be the abrogation of existence for the other. In the light of this argument, we shall pursue in studying and observing the underlying factors that led to the Nagas challenging the powerful British authority over the Naga Hills, and the consequences that followed

Chapter X: Language and the Natural Arts of Space and Time

1980 ◽  
Vol 25 (S1) ◽  
pp. 133-137
Author(s):  
Richard Albert Wilson
Keyword(s):  
Space Time ◽  
Time Sequence ◽  
Time Structure ◽  
The Other ◽  
Thought Process ◽  
Space And Time ◽  
Space Time Structure ◽  
The World ◽  
Actual Space ◽  
Language Issues

‘Behold at last the poet’s sphere!But who,’ I said, ‘suffices here?For, ah! so much he has to do;Be painter and musician too!. . . .No painter yet hath such a way,Nor no musician made, as they;And gather’d on immortal knollsSuch lovely flowers for cheering souls.Beethoven, Raphael, cannot reachThe charm which Homer, Shakespeare, teach.’ARNOLD, Epilogue to Lessing’s Laocoön.Nevertheless, the sensuous sound element does remain as the substratum of articulate language, and as language issues from the lips it issues in the same time sequence as does pure sound, for example, in music. But here is the unique difference which separates language fundamentally from the other four arts. As language issues from the lips, the pure ‘timeness’ of it, as we might say, is immediately transmuted and absorbed in the conventionalized connotation which is arbitrarily given to the differentiated sounds. Hence in the thought-process of intellecting the world by language the actual space-time world is translated first into pure time, that is, into sound, but is immediately, in the very act as it were, retranslated by the conventionalization of sound into its former space-time structure within the world of mind.

The Other Industrial Art: Deleuze, Cinema, Affect and Sport

2016 ◽  
Vol 10 (2) ◽  
pp. 206-222
Author(s):  
Melissa McMahon
Keyword(s):  
Nineteenth Century ◽  
Industrial Revolution ◽  
Space Time ◽  
The Other ◽  
Innovative Approach ◽  
The World ◽  
Industrial Art ◽  
The Aesthetic ◽  
Aesthetic Expression

The emergence of cinema in the nineteenth century was contemporaneous with the rise of modern sports, both popular spectacles connected with the industrial revolution. Deleuze sees film in his Cinema books as the aesthetic expression of a specifically modern understanding of movement, in contrast to the science and philosophy of antiquity. This article uses Deleuze's analysis of cinema to characterise the aesthetic of modern sports as another ‘industrial art’ with a similarly innovative approach to space, time and movement. It also shows how the aesthetic impact of a sporting match is aligned with the dimensions of Deleuze's ‘affection-image’ in cinema, which frames the world as a ‘face’ divided between absorption and agitation.

Indonesian Literature’s Position in World Literature

TEKNOSASTIK ◽  
2018 ◽  
Vol 14 (2) ◽  
pp. 1
Author(s):  
Dina Amelia
Keyword(s):  
World Literature ◽  
The Other ◽  
National Literature ◽  
Western World ◽  
The World ◽  
The One ◽  
The Voice

There are two most inevitable issues on national literature, in this case Indonesian literature. First is the translation and the second is the standard of world literature. Can one speak for the other as a representative? Why is this representation matter? Does translation embody the voice of the represented? Without translation Indonesian literature cannot gain its recognition in world literature, yet, translation conveys the voice of other. In the case of production, publication, or distribution of Indonesian Literature to the world, translation works can be very beneficial. The position of Indonesian literature is as a part of world literature. The concept that the Western world should be the one who represent the subaltern can be overcome as long as the subaltern performs as the active speaker. If the subaltern remains silent then it means it allows the “representation” by the Western.

Experiment role in the world music (based on the «The Road» album of the Ukrainian «Dakha Brakha» band)

2018 ◽  
pp. 215-227
Author(s):  
Iia Fedorova
Keyword(s):  
Folk Music ◽  
World Music ◽  
The Other ◽  
Modern Music ◽  
Musical Practice ◽  
The Road ◽  
Music Practice ◽  
The World ◽  
Binary Oppositions ◽  
Musical Practices

The main objective of this study is the substantiation of experiment as one of the key features of the world music in Ukraine. Based on the creative works of the brightest world music representatives in Ukraine, «Dakha Brakha» band, the experiment is regarded as a kind of creative setting. Methodology and scientific approaches. The methodology was based on the music practice theory by T. Cherednychenko. The author distinguishes four binary oppositions, which can describe the musical practice. According to one of these oppositions («observance of the canon or violation of the canon»), the musical practices, to which the Ukrainian musicology usually classifies the world music («folk music» and «minstrel music»), are compared with the creative work of «Dakha Brakha» band. Study findings. A lack of the setting to experiment in the musical practices of the «folk music» and «minstrel music» separates the world music musical practice from them. Therefore, the world music is a separate type of musical practice in which the experiment is crucial. The study analyzed several scientific articles of Ukrainian musicologists on the world music; examined the history of the Ukrainian «Dakha Brakha» band; presented a list of the folk songs used in the fifth album «The Road» by «Dakha Brakha» band; and showed the degree of the source transformation by musicians based on the example of the «Monk» song. The study findings can be used to form a comprehensive understanding of the world music musical practice. The further studies may be related to clarification of the other parameters of the world music musical practice, and to determination of the experiment role in creative works of the other world music representatives, both Ukrainian and foreign. The practical study value is the ability to use its key provisions in the course of modern music in higher artistic schools of Ukraine. Originality / value. So far, the Ukrainian musicology did not consider the experiment role as the key one in the world music.

Does Literature Matter Today? Thoughts of the Outside

CounterText ◽  
2018 ◽  
Vol 4 (1) ◽  
pp. 98-113
Author(s):  
Shaobo Xie
Keyword(s):  
Aesthetic Education ◽  
The Other ◽  
Human Values ◽  
Literary Texts ◽  
Lost Cause ◽  
Western Tradition ◽  
The World

The paper celebrates the publication of Ranjan Ghosh and J. Hillis Miller's Thinking Literature across Continents as a significant event in the age of neoliberalism. It argues that, in spite of the different premises and the resulting interpretative procedures respectively championed by the two co-authors, both of them anchor their readings of literary texts in a concept of literature that is diametrically opposed to neoliberal rationality, and both impassionedly safeguard human values and experiences that resist the technologisation and marketisation of the humanities and aesthetic education. While Ghosh's readings of literature offer lightning flashes of thought from the outside of the Western tradition, signalling a new culture of reading as well as a new manner of appreciation of the other, Miller dedicatedly speaks and thinks against the hegemony of neoliberal reason, opening our eyes to the kind of change our teaching or reading of literature can trigger in the world, and the role aesthetic education should and can play at a time when the humanities are considered ‘a lost cause’.

Simone de Beauvoir's Philosophy of Individuation

2017 ◽  
Author(s):  
Laura Hengehold
Keyword(s):  
Lived Experience ◽  
20Th Century ◽  
Sexual Difference ◽  
Gilles Deleuze ◽  
The Other ◽  
Simone De Beauvoir ◽  
Second Sex ◽  
Other Hand ◽  
The World

Most studies of Simone de Beauvoir situate her with respect to Hegel and the tradition of 20th-century phenomenology begun by Husserl, Heidegger, and Merleau-Ponty. This book analyzes The Second Sex in light of the concepts of becoming, problematization, and the Other found in Gilles Deleuze. Reading Beauvoir through a Deleuzian lens allows more emphasis to be placed on Beauvoir's early interest in Bergson and Leibniz, and on the individuation of consciousness, a puzzle of continuing interest to both phenomenologists and Deleuzians. By engaging with the philosophical issues in her novels and student diaries, this book rethinks Beauvoir’s focus on recognition in The Second Sex in terms of women’s struggle to individuate themselves despite sexist forms of representation. It shows how specific forms of women’s “lived experience” can be understood as the result of habits conforming to and resisting this sexist “sense.” Later feminists put forward important criticisms regarding Beauvoir’s claims not to be a philosopher, as well as the value of sexual difference and the supposedly Eurocentric universalism of her thought. Deleuzians, on the other hand, might well object to her ideas about recognition. This book attempts to address those criticisms, while challenging the historicist assumptions behind many efforts to establish Beauvoir’s significance as a philosopher and feminist thinker. As a result, readers can establish a productive relationship between Beauvoir’s “problems” and those of women around the world who read her work under very different circumstances.

Modernism, Empiricism, and Rationalism

2016 ◽  
Vol 46 (1) ◽  
pp. 38-47
Author(s):  
Geoffrey Squires
Keyword(s):  
Twentieth Century ◽  
The Other ◽  
Modern Poetry ◽  
Philosophical Perspective ◽  
Irish Poetry ◽  
Dimensional Spectrum ◽  
Culture History ◽  
The World ◽  
The Impact ◽  
Rule Out

Modernism is usually defined historically as the composite movement at the beginning of the twentieth century which led to a radical break with what had gone before in literature and the other arts. Given the problems of the continuing use of the concept to cover subsequent writing, this essay proposes an alternative, philosophical perspective which explores the impact of rationalism (what we bring to the world) on the prevailing empiricism (what we take from the world) of modern poetry, which leads to a concern with consciousness rather than experience. This in turn involves a re-conceptualisation of the lyric or narrative I, of language itself as a phenomenon, and of other poetic themes such as nature, culture, history, and art. Against the background of the dominant empiricism of modern Irish poetry as presented in Crotty's anthology, the essay explores these ideas in terms of a small number of poets who may be considered modernist in various ways. This does not rule out modernist elements in some other poets and the initial distinction between a poetics of experience and one of consciousness is better seen as a multi-dimensional spectrum that requires further, more detailed analysis than is possible here.

The World after the End of the World

2017 ◽  
Vol 39 (2) ◽  
pp. 265-276 ◽  
Author(s):  
Kas Saghafi
Keyword(s):  
The Other ◽  
The World ◽  
History Of ◽  
The Absolute ◽  
End Of The World

In several late texts, Derrida meditated on Paul Celan's poem ‘Grosse, Glühende Wölbung’, in which the departure of the world is announced. Delving into the ‘origin’ and ‘history’ of the ‘conception’ of the world, this paper suggests that, for Derrida, the end of the world is determined by and from death—the death of the other. The death of the other marks, each and every time, the absolute end of the world.

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