Christian Metz

2021 ◽  
Keyword(s):  
Immanuel Kant ◽  
Aesthetic Experience ◽  
Film Theory ◽  
Lacanian Psychoanalysis ◽  
Secondary Systems ◽  
History Of ◽  
Structuralist Framework ◽  
The 1960S ◽  
The Mind ◽  
Christian Metz

The film theory of Christian Metz (b. 1931–d. 1993) forms part of the structuralist revolution of ideas that challenged the phenomenology prevalent in France in the 1950s. Metz developed a structuralist (or its derivative, semiological) theory of film in the 1960s and inaugurated a groundbreaking theory and method of analysis that transformed film into a semiological object, in which film’s specificity was no longer perceived in terms of surface sensory properties or a conscious aesthetic experience. Instead, Metz reconceived filmic specificity, this most sensory of objects, as a type of signification—as the manifestation of a more fundamental, nonobservable, underlying finite abstract system of codes. To conceive film as signification involves a shift in perspective, from the study of film as a consciously experienced, continuous sensory object to the study of the abstract underlying system of discrete (or discontinuous) codes that generates and organizes those experiences. In terms of the history of ideas, semiology parallels the epistemology of philosophers such as Immanuel Kant, who argued that an underlying transcendental system of conceptual categories in the mind structures and makes possible human experience. Semiology’s innovation was to replace this underlying transcendental system with a historically and culturally contingent system of underlying codes. In the 1970s Metz addressed the limitations of structuralism and semiology by adopting a post-structuralist framework premised on theories of enunciation, Lacanian psychoanalysis, and phenomenology. For Metz, enunciation (which emphasizes signs of the speaker and receiver in a text) and psychoanalysis (which emphasizes traces of the unconscious in a text) enabled him to rethink his study of codes as secondary systems of signification, which are underpinned and driven by more-fundamental primary processes of signification (unconscious drives, fantasy, and dream logic). In his final work in the early 1990s, Metz developed a theory of filmic enunciation focused on the impersonal traces of a film’s production; that is, enunciative markers that are reflexive, that refer back only to the film itself.

scholarly journals KRITIK IMMANUEL KANT TERHADAP FAHAM RASIONALISME DAN EMPIRISME

2016 ◽  
Vol 8 (02) ◽  
Author(s):  
Jauhan Budiwan
Keyword(s):  
Immanuel Kant ◽  
Active Role ◽  
Western Philosophy ◽  
Pure Reason ◽  
Critique Of Pure Reason ◽  
Profound Impact ◽  
Philosophical Movement ◽  
Philosophical Background ◽  
History Of ◽  
The Mind

Immanuel Kant is one of the most influential philosophers in the history of Western philosophy. His contributions to metaphysics, epistemology, ethics, and aesthetics have had a profound impact on almost every philosophical movement that followed him. This portion will focus on his metaphysics and epistemology in one of his most important works. The Critique of Pure Reason, A large part of Kant’s work addresses the question “What can we know?” The answer, if it can be stated simply, is that our knowledge is constrained to mathematics and the science of the -natural, empirical world. It is impossible, Kant argues, to extend knowledge to the supersensible realm of speculative metaphysics. The reason that knowledge has these constraints, Kant argues, is that the mind plays an active role in constituting the features of experience and limiting the mind's access to the empirical realm of space and time. In order to understand Kant's position, we must understand the philosophical background that he was reacting to. First, 1 will present a brief overview of his predecessor's positions with a brief statement of Kant's objections, then I will return to a more detailed exposition of Kant's arguments. There are two major historical movements in the early modem period of philosophy that had a significant impact on Kant; Empiricism and Rationalism,

Women in science: Breaking out of the circle

1992 ◽  
Vol 46 (1) ◽  
pp. 177-182 ◽  
Keyword(s):  
Nineteenth Century ◽  
Social History ◽  
Charles Darwin ◽  
Women In Science ◽  
Late Nineteenth Century ◽  
Secondary Sexual Characteristics ◽  
Sexual Characteristics ◽  
History Of ◽  
The 1960S ◽  
The Mind

Marilyn Bailey Ogilvie, Women in science, antiquity through the nineteenth century . Cambridge, Massachusetts: MIT Press, 1986. Pp. xi 4- 254, £24.75. ISBN 0-262-15031-X Margaret Alic, Hypatia's heritage: a history of women in science from antiquity to the late nineteenth century . London: The Women’s Press, 1986. Pp. ix + 230, £4.95. ISBN 0-7043-3954-4 Londa Schiebinger, The mind has no sex? Women in the origins of modem science . Cambridge, Massachusetts: Harvard University Press, 1989. Pp. xi + 355, £23.50. ISBN 0-674-57623-3 Patricia Phillips, The scientific lady: a social history of woman's scientific interests 1520-1918 . London: Weidenfeld and Nicolson, 1990. Pp. xiii + 279, £25.00. ISBN 0-297-82043-5 Uneasy careers and intimate lives: women in science, 1789-1979 . Edited by Pnina G. Abir-Am & Dorinda Outram. New Brunswick: Rutgers University Press, 1987. Pp. xiii + 365, £11.00. ISBN 0-8135-1255-7 Women of science: righting the record . Edited by G. Kass-Simon & Patricia Fames. Bloomington, Indiana: Indiana University Press, 1990. Pp. xvi + 398, $39.95. ISBN 0-253-33264-8 Not long ago women were largely absent from the histories of science, even from social histories of science. With the 1960s came the questions: where were the women? how to do them justice? were there so few? why so few? Several books have now addressed these difficult questions. Charles Darwin gave an answer to the last question, by including ‘the intellectual powers of the sexes’ with the secondary sexual characteristics discussed in The descent of man, and selection in relation to sex .

THE HISTORY OF THE DEVELOPMENT OF THE MUSICAL CULTURE OF BASHKIRIA IN THE 1950S - MID-1980S

2021 ◽  
Vol 0 (4) ◽  
pp. 75-82
Author(s):  
N.V. AKHMADIEVA ◽  
Keyword(s):  
Folk Music ◽  
Aesthetic Experience ◽  
Musical Culture ◽  
Musical Life ◽  
Musical Knowledge ◽  
History Of ◽  
The 1950S ◽  
The Republic ◽  
The 1960S ◽  
Russian Composers

In the 1950s-1980s. the musical culture of Bashkiria was further developed, acquiring specific forms. As a result of the influence of various musical cultures, forms of professional art that were not inherent in traditional national culture were actively developing in the republic. Historically, the artistic and aesthetic experience of Bashkiria was limited to monodic forms of folk music (monophonic songs and instrumental tunes). The problem of overcoming the predominance of traditional monody in professional musical culture was urgent. Having adopted and creatively using the best traditions of classical and Soviet music, Bashkir professional music has gone an accelerated path from traditional monophonic folk music to complex genres of professional art. For several decades, such genres as opera, symphony, ballet were created in Bashkiria. Already in 1950-1970. a national style is formed on the basis of the creative implementation of folklore and the interaction of national and international in musical art. In the 1960s. against the background of the continuous interest of Bashkir composers in chamberinstrumental and chamber-vocal genres, the center of gravity is shifting to the field of musical-theatrical, symphonic music. In the musical life of the republic, great importance was attached to the popularization of musical culture. Bashkir radio paid great attention to the promotion of musical knowledge and works. Back in the early 1960s. musical and educational programs were conducted in the Bashkir and Russian languages, concerts of Bashkir, Chuvash and Russian composers were broadcast. Often, the radio played works by amateur composers with the participation of the authors themselves. At the same time, with the huge genre diversity of the musical culture of Bashkiria, significant and talented works of many authors remained outside the active cultural life, unable to popularize them and bring them to the mass audience. As a result, a serious gap was noticeable between the musical culture itself and its consumer. The low level of culture of perception of music by the population, due to the lack of professional musical education, formed preferences for pop, popular music.

How Homo economicus lost her mind and how we can revive her

2018 ◽  
Vol 41 ◽  
Author(s):  
Peter DeScioli
Keyword(s):  
Economic Thought ◽  
History Of Economic Thought ◽  
Homo Economicus ◽  
Economic Theories ◽  
Target Article ◽  
History Of ◽  
The Mind ◽  
And Behavior

AbstractThe target article by Boyer & Petersen (B&P) contributes a vital message: that people have folk economic theories that shape their thoughts and behavior in the marketplace. This message is all the more important because, in the history of economic thought, Homo economicus was increasingly stripped of mental capacities. Intuitive theories can help restore the mind of Homo economicus.

A note on John Hawkins (1761–1841) and the Hawkins archive

2000 ◽  
Vol 27 (2) ◽  
pp. 261-268
Author(s):  
R. J. CLEEVELY
Keyword(s):  
Major Part ◽  
Reference Lists ◽  
The West ◽  
History Of ◽  
The 1960S

A note dealing with the history of the Hawkins Papers, including the material relating to John Hawkins (1761–1841) presented to the West Sussex Record Office in the 1960s, recently transferred to the Cornwall County Record Office, Truro, in order to be consolidated with the major part of the Hawkins archive held there. Reference lists to the correspondence of Sibthorp-Hawkins, Hawkins-Sibthorp, and Hawkins to his mother mentioned in The Flora Graeca story (Lack, 1999) are provided.

A history of botanical collections in the Luangwa Valley, Zambia

1998 ◽  
Vol 25 (2) ◽  
pp. 283-291
Author(s):  
P.S.M. PHIRI ◽  
D.M. MOORE
Keyword(s):  
Eighteenth Century ◽  
Environmental Impact ◽  
Impact Assessment ◽  
Vascular Plants ◽  
Central Africa ◽  
Peak Activity ◽  
Historical Account ◽  
History Of ◽  
The 1960S ◽  
Made In

Central Africa remained botanically unknown to the outside world up to the end of the eighteenth century. This paper provides a historical account of plant explorations in the Luangwa Valley. The first plant specimens were collected in 1897 and the last serious botanical explorations were made in 1993. During this period there have been 58 plant collectors in the Luangwa Valley with peak activity recorded in the 1960s. In 1989 1,348 species of vascular plants were described in the Luangwa Valley. More botanical collecting is needed with a view to finding new plant taxa, and also to provide a satisfactory basis for applied disciplines such as ecology, phytogeography, conservation and environmental impact assessment.

Formative Influences

2018 ◽  
Author(s):  
Hilary Radner ◽  
Alistair Fox
Keyword(s):  
Michel Foucault ◽  
Roland Barthes ◽  
Film Analysis ◽  
The 1960S ◽  
Christian Metz ◽  
The Way

In this section of the interview, Bellour describes how he began to engage in film analysis in the 1960s, beginning with a sequence from Alfred Hitchcock’s The Birds, with the aim of establishing the way it worked as a “text.” He proceeds to describe his personal encounters with major figures like Roland Barthes, Claude Lévi-Strauss, Michel Foucault, and his friendship with Christian Metz, suggesting how his interchanges with them helped to shape his own thinking, and how it diverged from theirs.

Mind Bending, Mental Seduction and Menticide: Brainwashing in British Spy Dramas of the 1960s

2013 ◽  
Vol 10 (1) ◽  
pp. 27-48 ◽  
Author(s):  
Alan Burton
Keyword(s):  
Cold War ◽  
Thought Control ◽  
Cultural Contexts ◽  
Scientific Background ◽  
Mind Control ◽  
1960S And 1970S ◽  
The 1960S ◽  
The Cold War ◽  
The Mind ◽  
Cultural Fantasy

Brainwashing assumed the proportions of a cultural fantasy during the Cold War period. The article examines the various political, scientific and cultural contexts of brainwashing, and proceeds to a consideration of the place of mind control in British spy dramas made for cinema and television in the 1960s and 1970s. Particular attention is given to the films The Mind Benders (1963) and The Ipcress File (1965), and to the television dramas Man in a Suitcase (1967–8), The Prisoner (1967–8) and Callan (1967–81), which gave expression to the anxieties surrounding thought-control. Attention is given to the scientific background to the representations of brainwashing, and the significance of spy scandals, treasons and treacheries as a distinct context to the appearance of brainwashing on British screens.

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