Events Reconsidered

2003 ◽  
Author(s):  
J. S. Weiner ◽  
Chris Stringer
Keyword(s):  
Scientific Literature ◽  
British Museum ◽  
Primary Sources ◽  
The Public ◽  
Public Meeting ◽  
Real Importance ◽  
New Form ◽  
To Come ◽  
The One ◽  
Work Done

It is unfortunately not possible to follow in any detail every stage of Smith Woodward’s activities at Piltdown. No diaries or note-books exist of the work done, there is nowhere a complete record of the various finds as they were made. Woodward kept copies of very few of his own letters and we have only the letters written to him and now preserved at the British Museum. When the American palaeontologist Osborn came over in 1920, Woodward dictated some notes which help to allocate the various discoveries. Apart from these notes and the one-sided record of the correspondence, there are only the reports in the scientific literature and popular lectures on Piltdown as primary sources. Woodward does not appear in general to have been a secretive man, but over the Piltdown material he went to some lengths to keep the whole affair as quiet as possible until near the time of the public meeting in December 1912. He did not consult any of his colleagues in the Museum about the finds or about the interpretation he was to place on them. Mr. Hinton says that to his colleagues at South Kensington Woodward’s diagnosis of E. dawsoni came as a surprise mingled with some dismay, for there was much scepticism of the new form amongst his museum colleagues, including Oldfield Thomas and Hinton himself. They would have advised caution, he says. Keith knew nothing of the events in Sussex until rumours reached him in November. He wrote asking for a view of the exciting material, but on his visit on 2 December to the Museum he was received rather coldly and allowed a short twenty minutes. But, judging from Dawson’s letters in 1912, it seems fair to say that Woodward was merely seeking to avoid a premature disclosure, for he had decided early on that Piltdown would indeed prove a sensational event. Woodward did not want any of Dawson’s ‘lay’ friends to come along on his first visit to the gravel when he had yet to make up his mind about the real importance of Dawson’s find and of the necessity for systematic excavation.

The Star System in Literary Studies

PMLA ◽  
1997 ◽  
Vol 112 (1) ◽  
pp. 85-100 ◽  
Author(s):  
David R. Shumway
Keyword(s):  
Literary Theory ◽  
Literary Studies ◽  
Professional Status ◽  
Star System ◽  
The Public ◽  
The Media ◽  
New Form ◽  
The One ◽  
Studio Era

A new form of intellectual authority and professional status has emerged in literary studies since the 1970s. Although some scholars have always been more influential and famous than others, only recently have such scholars been constructed as stars in the media and in the profession. This star system, similar to the one that flourished in studio-era Hollywood, makes leading scholars into personalities. It is related to the growth of the conference and lecture circuit and to the rise of literary theory. Although this system does not necessarily reward the wrong people, it does contribute to the public delegitimation of the discipline.

scholarly journals Radical Hope or the Moral Imperative of Images in the Work of Susan Sontag Jean-Luc Godard

2009 ◽  
Vol 1 (2) ◽  
pp. 487-501 ◽  
Author(s):  
Idit Alphandary
Keyword(s):  
Jacques Derrida ◽  
The Self ◽  
Moral Imperative ◽  
Susan Sontag ◽  
Life Challenges ◽  
The World ◽  
The Gift ◽  
New Form ◽  
To Come ◽  
The One

In the films For Ever Mozart, In Praise of Love and I Salute You Sarajevo, Go-dard’s images introduce radical hope to the world. I will demonstrate that this hope represents an ethical posture in the world; it is identical to goodness. Radical hope is grounded in the victim’s witnessing, internalizing and remembering catastrophe, while at the same time holding onto the belief that a variation of the self will survive the disaster. In The Gift of Death, Jacques Derrida argues that choosing to belong to the disaster is equivalent to giving the pure gift, or to goodness itself, and that it suggests a new form of responsibility for one’s life, as well as a new form of death. For Derrida, internalizing catastrophe is identical to death—a death that surpasses one’s means of giving. Such death can be reciprocated only by reinstating goodness or the law in the victim’s or the giver’s existence. The relation of survival to the gift of death—also a gift of life—challenges us to rethink our understanding of the act of witnessing. This relation also adds nuance to our appreciation of the intellectual, emotional and mental affects of the survival of the victim and the testimony and silence of the witness, all of which are important in my analysis of radical hope. On the one hand, the (future) testimony of the witness inhabits the victim or the ravaged self (now), on the other hand, testimony is not contemporaneous with the shattered ego. This means that testimony is anterior to the self or that the self that survives the disaster has yet to come into existence through making testimony material. Testimony thus exists before and beyond disaster merely as an ethical posture—a “putting-oneself-to-death or offering-one’s-death, that is, one’s life, in the ethical dimension of sacrifice,” in the words of Derrida. The witness is identical to the victim whose survival will include an unknown, surprising testimony or an event of witnessing. The testimony discloses the birth or revelation of a new self. And yet this new self survives through assuming the position of the witness even while s/he is purely the victim of catastrophe, being put to death owning the “kiss of death.”

PL03-01 - When does Depression Become a Mental Disorder?

2011 ◽  
Vol 26 (S2) ◽  
pp. 2009-2009
Author(s):  
M. Maj
Keyword(s):  
Mental Disorder ◽  
Common Mental Disorder ◽  
Qualitative Difference ◽  
Major Depressive ◽  
The Public ◽  
High Prevalence ◽  
Dsm Iv ◽  
To Come ◽  
The One ◽  
Substantial Degree

Major depressive disorder is reported to be the most common mental disorder, with a lifetime prevalence in the community ranging from 10 to 25% in women and from 5 to 12% in men. These figures are frequently quoted in the psychiatric literature, but are viewed by many, both outside and within the psychiatric field, with a substantial degree of skepticism. From outside the psychiatric field, it has been pointed out that “determining when relatively common experiences such as sadness should be considered evidence of some disorder requires the setting of boundaries that are largely arbitrary, not scientific, unlike setting the boundaries for what constitutes cancer or pneumonia” (1). From within the psychiatric field, it has been stated that “based on the high prevalence rates identified in both the ECA and the NCS, it is reasonable to hypothesize that some syndromes in the community represent transient homeostatic responses to internal or internal stimuli that do not represent true psychopathologic disorders” (2). It is likely that these arguments will be increasingly endorsed by the public opinion in the years to come, and it is therefore crucial for our profession to articulate a convincing response to the question “When does depression become a mental disorder?”. In this presentation, I will summarize three approaches to this issue, pointing out their weaknesses and the lessons we may take from each of them. The first approach is the one proposed by Wakefield (3), emphasizing the context in which depressive symptoms occur. The second approach is the one endorsed by several European psychopathologists, according to whom there is a qualitative difference between true depression and normal sadness, a difference which has been lost in the recent process of oversimplification of psychopathology. The third approach is the one according to which, since there is a continuity between “normal” sadness and clinical depression, the boundary has to be decided arbitrarily on pragmatic grounds. This is what the DSM-IV actually tries to achieve, regarding depression as a “disorder” when it reaches a given threshold in terms of severity, duration and degree of suffering or functional impairment, thus deserving clinical attention. The problem is, however, that the threshold fixed by the DSM-IV for the diagnosis of major depression is not only arbitrary, but also not based on reasonably solid pragmatic grounds (4).

Proposed Changes in British Parliamentary Procedure

1946 ◽  
Vol 40 (4) ◽  
pp. 740-748
Author(s):  
Henry Bunbury
Keyword(s):  
Public Interest ◽  
Major Change ◽  
Parliamentary Democracy ◽  
The Public ◽  
General Plan ◽  
Full Discussion ◽  
Parliamentary Procedure ◽  
To Come ◽  
The One ◽  
The Right

Parliamentary democracy in Britain has once again to face and solve a problem which in itself is by no means new. It has to find the means of preserving, under the conditions of today and tomorrow, two principles, each of which is fundamental to democratic government, but which tend in times of major change to come into conflict. The one is that Parliament, as the supreme power in the state, shall retain its full and unchallenged control over public policy, both in legislation and in administration; the other, that the public business shall be efficiently conducted—that the right things shall be done at the right time. For in so far as the system fails on the former count, it ceases to be democratic; and to the extent that it fails on the latter count, its repute, and even its very existence, may be endangered.It is commonly admitted that the British parliamentary machine has at times—and in recent years with increasing frequency—been overworked. Changes in the law called for by new situations, by public demand, or by administrative expediency are liable to be postponed from session to session for lack of parliamentary time, until the right moment for decision has passed. Matters which deserved full discussion are liable to be decided in haste under some form of closure of debate. The choice of subjects for legislative projects in any particular session tends, at times, to be determined as much by sectional pressures of one kind or another, public or departmental, as by a considered weighing of the public interest or a general plan of policy.

Strukturprobleme des Glücksspielrechts

2021 ◽  
Vol 54 (1) ◽  
pp. 37-71
Author(s):  
Julian Krüper
Keyword(s):  
The Public ◽  
German Länder ◽  
Gambling Law ◽  
Executive Competencies ◽  
Sufficient Degree ◽  
Legal Forms ◽  
To Come ◽  
The One ◽  
Definition Of ◽  
Gambling Market

Comprised of a plurality of legal actors and powered by a highly polarised social and legal discourse, German gambling law provides a framework for the ever booming gambling market. It is challenged by digitalization and by the internationalization of gambling. In addition, it faces adverse regulatory impulses, ranging from liberalization to a firm regulatory grasp within a couple of years. On the one hand, it purports to offer a sufficiently attractive supply of gambling products in order to draw the public into legal forms and away from illegal forms of gambling. On the other hand, its regulatory objective seeks to fence in and suppress the gambling urges of the population. On the whole, German gambling law is characterized by three, legally and factually interdependent problems. First, it needs to come up with a practical, inclusive and dynamic legal definition of its subject-matter, i. e.: what counts as legally relevant gambling? Second, it needs to define, maintain and implement larger objectives in regard to a target audience that do not overburden the executive und judicial branch with the need to reconcile contradicting regulatory impulses. Finally, it needs to guarantee a sufficient degree of implementation, which is achieved by combination of rational and high-quality legislation, adequate resources, and the necessary political will. Gambling law in Germany lacks these features to varying degrees. It, therefore, increasingly falls prey to mere legal symbolism that pretends to govern the gambling market much more than it actually does. The constitutional distribution of legislative and executive competencies in favor of the German Länder (“states”) is largely insufficient. Governing gambling in an international and highly digitalized market requires federal legislation and execution. The German federal authorities should consider federalizing gambling law by means of Art. 72 II GG and creating a federal gambling agency on the basis of Art. 87 III GG.

scholarly journals A disguised Pentheus hiding in the British Museum?

2004 ◽  
pp. 27
Author(s):  
Oliver Taplin
Keyword(s):  
British Museum ◽  
The Other ◽  
Vase Painting ◽  
The Public ◽  
Other Hand ◽  
The One ◽  
Painted Pottery ◽  
The Relationship ◽  
Artistic Tradition

During the last twenty-five years, two opposing trends have dominated over the debate about the relationship between mythological narratives in vase-painting and those in tragedy. On the one hand, there are those who regard the paintings as dependent upon works of literature; on the other hand, there are those who argue that the artistic tradition is fully self-explanatory with no need of any reference to any literature. This paper analyzes some cases, in which the whole phenomenon seems to be more complex, and to be inextricable from the part played both by painted pottery and by the theatre in the whole lives of those who were the public for these pots and these plays.

Vitruvian Character: The Case of the Egyptian Museum

2014 ◽  
Vol 8 (3) ◽  
pp. 105
Author(s):  
Khaled Asfour
Keyword(s):  
Local Community ◽  
British Museum ◽  
Spatial Experience ◽  
The Public ◽  
Cultural Boundaries ◽  
The World

In Vitruvius’ treatise, what makes good architecture is its ability to communicate to the public particular messages that reflects the program of the building with spaces and components arranged in an orderly way. According to Vitruvius these messages when acknowledges by the public the building posses strong character. This research discusses this idea by reflecting on the 1895 competition of the Egyptian Museum project. Marcel Dourgnon, the French architect of the winning scheme, showed profound understanding of character resulting in a building that had positive vibe with the local community.  Today Vitruvius’ idea is still living with us. Norman Foster succeeded in upgrading the British Museum in a way that addressed all cultures of the world through his grand atrium design.  Similarly, Emad Farid and Ramez Azmy revived the presence of the Egyptian Museum in public cognition.  Spatial experience that evokes similar perceptions to all its visitors is a timeless piece that transcends cultural boundaries.

The screen performance as an instrument of propaganda (on the example of Ivan Kavaleridze’s film «Koliivshchyna», 1933)

2019 ◽  
Vol 25242644 ◽  
pp. 63-68
Author(s):  
Alina Lisnevska
Keyword(s):  
Video Content ◽  
The Public ◽  
Screen Media ◽  
Social Settings ◽  
Soviet Ideology ◽  
The One ◽  
Historical Truth ◽  
Screen Performance ◽  
Personalized Video ◽  
Remote Past

The myth-making processes in the communicative space are the «cornerstone» of ideology at all times of mankind’s existence. One of the tools of the effective impact of propaganda is trust in information. Today this come round due to the dissemination of information on personalized video content in social networks, including through converged media. New myths and social settings are creating, fate of the countries is being solved, public opinion is being formed. It became possible to create artificially a model of social installation using the myths (the smallest indivisible element of the myth) based on real facts, but with the addition of «necessary» information. In the 20–30 years of the XX century cinematograph became the most powerful screen media. The article deals with the main ideological messages of the Ukrainian Soviet film «Koliivshchyna» (1933). In the period of mass cinematography spread in the Soviet Ukraine, the tape was aimed at a grand mission – creation of a new mythology through the interpretation of the true events and a con on the public, propaganda of the Soviet ideology. This happened in the tragic period of Ukrainian history (1933, the Holodomor) through the extrapolation of historical truth and its embodiment in the most formative form at that time – the form of the screen performance. The Soviet authorities used the powerful influence of the screen image to propagate dreams, illusions, images, stereotypes that had lost any reference to reality. I. Kavaleridze’s film «Koliivshchyna» demonstrates the interpretation of historical events and national ideas, the interpretation of a relatively remote past through the ideology of the «Soviet-era». The movie is created as a part of the political conjuncture of the early 1930s: the struggle against Ukrainian «bourgeois nationalism» and against the «Union of Liberation Ukraine», the repressive policies against the peasants, the close-out of the «back to the roots» policy. The movie, on the one hand, definitely addresses to the Ukrainian ideas, on the other hand it was made at the period of the repressions against the Ukrainian peasantry. In the movie «Koliivshchyna», despite the censorship, I. Kavaleridze manages to create a national inclusive narrative that depicts Ukrainian space as multi-ethnic and diverse, but at the same time nationally colorful.

State of Fashion: Searching for the New Luxury

APRIA Journal ◽  
2020 ◽  
Vol 1 (1) ◽  
pp. 11-16
Author(s):  
José Teunissen
Keyword(s):  
Twentieth Century ◽  
Daily Life ◽  
Life Cycles ◽  
The Other ◽  
Century Model ◽  
Cocktail Party ◽  
The Public ◽  
Other Hand ◽  
The One

In the last few years, it has often been said that the current fashion system is outdated, still operating by a twentieth-century model that celebrates the individualism of the 'star designer'. In I- D, Sarah Mower recently stated that for the last twenty years, fashion has been at a cocktail party and has completely lost any connection with the public and daily life. On the one hand, designers and big brands experience the enormous pressure to produce new collections at an ever higher pace, leaving less room for reflection, contemplation, and innovation. On the other hand, there is the continuous race to produce at even lower costs and implement more rapid life cycles, resulting in disastrous consequences for society and the environment.

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