The Adventures of Pinocchio

2009 ◽  
Author(s):  
Carlo Collodi
Keyword(s):  
Political Satire ◽  
Cultural Traditions ◽  
Word Play ◽  
The World ◽  
The Moment ◽  
The Many ◽  
Adult Reader

The story of the wooden puppet who learns goodness and becomes a real boy is famous the world over, and has been familiar in English for over a century. From the moment Joseph the carpenter carves a puppet that can walk and talk, this wildly inventive fantasy takes Pinocchio through countless adventures, in the course of which his nose grows whenever he tells a lie, he is turned into a donkey, and is swallowed by a dogfish, before he gains real happiness. This new translation does full justice to the vibrancy and wit of Collodi's original. Far more sophisticated, funny, and hard-hitting than the many abridged versions (and the sentimentalized film) of the story would suggest, Ann Lawson Lucas's translation captures the complexity of Collodi's word-play, slapstick humour, and immediacy of dialogue. An adult reader will recognize social and political satire, and the invaluable introduction and notes illuminate the cultural traditions on which Collodi drew.

Listening for the Pictures

Resonance ◽  
2021 ◽  
Vol 2 (2) ◽  
pp. 182-191
Author(s):  
D. Michael Cheers
Keyword(s):  
Civil Rights ◽  
Creative Process ◽  
Cape Town ◽  
The Other ◽  
Pulitzer Prize ◽  
Civil Rights Era ◽  
Nelson Mandela ◽  
The World ◽  
The Moment ◽  
The Many

This essay is inspired by the words of Pulitzer Prize–winning Chicago Sun Times photographer John White, who once told me to “listen for the pictures.” His message rang clear but never more so than when in 1990 we were covering the release of Nelson Mandela in Cape Town, South Africa. The Cape Town scene was alive and filled with so much vibrance. I was keenly aware that I must not just look, but I must listen, and use all my God-given senses to take it in. I can only describe the moment I started listening to the layer of sound, which was my own clicking camera superimposed on the chorus of sounds that surrounded me as both meta and sonorific. There was a certain rhythm to the sensation I felt in being one with my camera. It transported me to a wonderful place in time where visuals and cadences danced together. I realized there was alchemy in this and in all the other moments and locations I had spent behind a camera developing and exercising that “inner ear” my ancestors, some gone, like Gordon Parks, but others here, like White, taught me to revere. This essay is a snapshot of some of those moments—a proof sheet, if you will—from a life that began, as did the civil rights era, with instances of terror and triumph. This essay chronicles my journey as a young photographer and the many influences that shaped my creative process and eventually my worldview. This essay is an invitation to travel with me through time and see life as my camera and I witnessed it, and to hear and sense the world as I do.

scholarly journals DRUŠTVENA INTIMNOST: LjUBAVNIK SA HILjADU LICA U PESMAMA DžONA DANA

2021 ◽  
Vol 18 (49) ◽  
pp. 205-217
Author(s):  
Nikola Bubanja ◽  
Keyword(s):  
Social Context ◽  
The Public ◽  
Social Narratives ◽  
The Social ◽  
The World ◽  
The Moment ◽  
The Many ◽  
External Intervention ◽  
Original Concept ◽  
Public Opposition

Donne’s poems with a distinctive focus on the intimate / public opposition may be read in the biographic context of the poet’s ambitions in terms of social position. The paper at hand, however, aims to offer a different social context for these poems (Good Morrow, Sun Rising, Canonization, Break of Day). The concept of intimate in these poems, it is argued, is not to be read as stemming from the pressure of the public, but rather as an element of a narrative construed by the interpretative community. In that sense, it is not the intimate that begets the desire for withdrawing from the public; rather, it is the social narratives, such as the narrative of separation and initiation, that construe the intimate. Further, all of Donne’s poems invoked in the paper are aubades, and aubades can also be seen as poetic realizations of a segment of the narrative of separation, illumination and the return of the hero (as defined by Campbell). Thus, Donne’s aubades are poetic representations of the nadir of the schematic circle of the monomyth – of the moment directly preceding the reintegration of the hero into the society, with separation and illumination looming from the background. Though problematization of the return is well within the scope of the original concept of the monomyth (as are many of the variations found in Donne’s verses, like the external intervention, the lack of will to exchange the tranquility of the illumination for the raggedness of the world, etc.) Donne seemingly finds room for integrating the metapoetic into the scheme: the ordinary (Petrarchan) verses will not do to pass on the experience of the illumination, but Donne’s new idiom, one that shies not from painting resurrections with orgasms, itself withdrawn from the many, if read right, might prove a vehicle of saints, which will intercede with the higher understanding and exist- ence for the benefit of the understanders. Thus, Donne also seemingly sees his poetry as rein- vigorating and consequently, participating in the creation of the social narratives of intimacy.

Jürgen Hinzpeter and Foreign Correspondents in the 1980 Kwangju Uprising

2020 ◽  
Vol 17 (1) ◽  
pp. 19-37 ◽  
Author(s):  
Andrew David Jackson
Keyword(s):  
Historical Memory ◽  
Taxi Driver ◽  
Military Rule ◽  
The South ◽  
Foreign Correspondents ◽  
South Korean ◽  
The World ◽  
The Subject ◽  
The Moment ◽  
The Many

German journalist Jürgen Hinzpeter won the 2003 Song Kun-ho Press Award for his reporting of the 1980 Kwangju Uprising. He was also the subject of documentaries and the 2017 hit movie A Taxi Driver, which credit him as the first journalist to expose the Kwangju Uprising to the world. In fact, Hinzpeter was one of many journalists who revealed what had happened at Kwangju. Since the production of the 2003 documentary Hinzpeter – the Blue-Eyed Witness to May 1980, interest in the many other foreign journalists who covered Kwangju has been elided, raising the question of why only Hinzpeter's contribution is remembered and celebrated. Using ideas about historical memory developed by Paul Cohen, I argue that a narrative about Hinzpeter's actions in Kwangju has emerged, which has little to do with who first broke the news of the Kwangju Uprising. The story of Hinzpeter's relationship with the South Korean democratization movement as well as the film he shot of the moment Kwangju citizens seized power and established an alternative government to military rule – have become important weapons for the activist generation in an ongoing struggle over the memorialization of the Kwangju Uprising.

scholarly journals Tantangan Budaya dalam Mewujudkan Kesetaraan Gender di India dan Solusinya

2021 ◽  
Vol 14 (1) ◽  
pp. 142
Author(s):  
Agneta Kristalia Tedjo ◽  
Mohammad Daffa Ramadhan ◽  
Muhammad Daffa Dirgantara ◽  
Raden Arief Meivio Bahari
Keyword(s):  
Human Rights ◽  
Gender Equality ◽  
Educational Inequality ◽  
Indian Government ◽  
Cultural Traditions ◽  
The World ◽  
The Many ◽  
Good Environment

Gender equality has become a topic that people discuss about a lot over the last few years. A condition where women and men should have equal position on every aspect of life is indeed should be realized in everywhere part of the world, including India. Therefore, this article will discuss an overview of the condition of gender equality in India and how the situation of women there. India was named by the Tom Reuters Foundation as the 4th most dangerous country in the world. One of the many factors why this is happen because of the existence of cultural traditions that have deeply rooted for generations. Because of that, it is necessary to discuss further the importance of gender equality in India. It will be explained about the solution of the culture that have deeply rooted in India, especially the culture that bring harm to women. Education is one aspect that is used to reduce any discrimination that is exist in India. The main goal of India in education is to overcome high illiteracy rate and also educational inequality for women. It will also be discussed, what are the roles of outsiders involved in the realization of gender equality in India. How conventions such as the Convention on Elimination of the All Forms of Discrimination Against Women (CEDAW) also play a role in helping India achieve gender equality and fulfillment of human rights, especially for women. . As well as how the role of the Indian government to create a good environment for women.

“All in a Garden Green”: Shakespeare's Staging of Garden Imagery

2019 ◽  
Vol 26 (2) ◽  
pp. 227-252
Author(s):  
Deborah Solomon
Keyword(s):  
Early Modern ◽  
Literary Tradition ◽  
The Public ◽  
The World ◽  
Audience Interaction ◽  
The Many ◽  
Green World

This essay draws attention to the surprising lack of scholarship on the staging of garden scenes in Shakespeare's oeuvre. In particular, it explores how garden scenes promote collaborative acts of audience agency and present new renditions of the familiar early modern contrast between the public and the private. Too often the mention of Shakespeare's gardens calls to mind literal rather than literary interpretations: the work of garden enthusiasts like Henry Ellacombe, Eleanour Sinclair Rohde, and Caroline Spurgeon, who present their copious gatherings of plant and flower references as proof that Shakespeare was a garden lover, or the many “Shakespeare Gardens” around the world, bringing to life such lists of plant references. This essay instead seeks to locate Shakespeare's garden imagery within a literary tradition more complex than these literalizations of Shakespeare's “flowers” would suggest. To stage a garden during the sixteenth and seventeenth centuries signified much more than a personal affinity for the green world; it served as a way of engaging time-honored literary comparisons between poetic forms, methods of audience interaction, and types of media. Through its metaphoric evocation of the commonplace tradition, in which flowers double as textual cuttings to be picked, revised, judged, and displayed, the staged garden offered a way to dramatize the tensions produced by creative practices involving collaborative composition and audience agency.

PINGVINAS IR PROTĖJAS. Įsivaizdavimas kaip kitybė manyje

2007 ◽  
Vol 4 ◽  
pp. 21-37
Author(s):  
Kristupas Sabolius
Keyword(s):  
Fight Club ◽  
The World ◽  
The Moment ◽  
Hollywood Movie

Kitybės klausimas dažniausiai kyla iš ego santykio su kitais arba su pasauliu. Šiame straipsnyje daroma prielaida, kad įsivaizdavimo funkcija ištirpdo subjektą ir jame pačiame atveria intersubjektyvią perspektyvą. Šiuo tikslu sugretinami Sartre’o, Husserlio bei Merleau-Ponty įsivaizdavimo funkcijos tyrimai, kuriuose išryškėja vaizdo kaip iš ego centro išslystančios ribos statusas, ir Holivudo filmo „Kovos klubas“ siužetas. Viename iš šios juostos epizodų pasirodantis pingvinas žymi egologinės schizmos akimirką ir tampa fantazijos apsireiškimu ir įsikūnijimu.Išgryninus žaidybinį, savarankišką ir multiformišką charakterį, galime konstantuoti, kad įsivaizdavimas, jei kalbėtume Kanto terminais, yra ne papildanti tarpinė funkcija, bet transcendentalinio subjekto genezėje atlieka paradoksalų „svetimos vidujybės“ arba „vidinės svetimybės“ vaidmenį. Vaizduotė yra katalizatoriaus, kuris, likdamas šalia, įgalina transcendentalinių formų išsikristalizavimą.Pagrindiniai žodžiai: vaizduotė, įsivaizdavimas, fantazija, ego, kitybė, sąmonė.PENGUIN AND PROTEUSImagination as Otherness in meKristupas Sabolius SummaryThe question of Otherness is usually taken into account while discussing the Ego’s relation with Others as well as with the World. This article is based on the premises that the function of phantasy melts the subjectivity, revealing the perspective of intersubjectivity within it. On this purpose Sartre’s, Husserl’s and Merleau-Ponty’s researches on the function of imagination, which elucidate the image as the boundary slipping from the centre of Ego, are compared to the story of Hollywood’ movie „Fight Club“. The penguin, which appears in one of the episodes, registers the moment of egological schism, thus becoming the revelation and incarnation of phantasy. While the playful, autonomous and multiform character of imaginary is cleared out, we can ascertain, speaking in Kantian terms, that it has not a complementary or intermediary function, but, in the genesis of transcendental subject, plays the paradoxical role of „allien innerness“ or „inner alienity“. Thought remaining always beside, imagination is a catalyzer which enables crystallization of transcendental forms.Keywords: imagination, imaginary, phantasy, ego, otherness, consciousness.

Erfahrung ohne Erfahrenden

2009 ◽  
Vol 2009 (1) ◽  
pp. 61-78
Author(s):  
Petr Kouba
Keyword(s):  
Phenomenological Approach ◽  
Work Of Art ◽  
New Beginning ◽  
Individual Structure ◽  
The World ◽  
Il Y A ◽  
Individual Existence ◽  
The Moment ◽  
The Individual ◽  
Intentional Structure

This article examines the limits of Heidegger’s ontological description of emotionality from the period of Sein und Zeit and Die Grundbegriffe der Metaphysik along the lines outlined by Lévinas in his early work De l’existence à l’existant. On the basis of the Lévinassian concept of “il y a”, we attempt to map the sphere of the impersonal existence situated out of the structured context of the world. However the worldless facticity without individuality marks the limits of the phenomenological approach to human existence and its emotionality, it also opens a new view on the beginning and ending of the individual existence. The whole structure of the individual existence in its contingency and finitude appears here in a new light, which applies also to the temporal conditions of existence. Yet, this is not to say that Heidegger should be simply replaced by Lévinas. As shows an examination of the work of art, to which brings us our reading of Moravia’s literary exposition of boredom (the phenomenon closely examined in Die Grundbegriffe der Metaphysik), the view on the work of art that is entirely based on the anonymous and worldless facticity of il y a must be extended and complemented by the moment in which a new world and a new individual structure of experience are being born. To comprehend the dynamism of the work of art in its fullness, it is necessary to see it not only as an ending of the world and the correlative intentional structure of the individual existence, but also as their new beginning.

Differenzierungen im Begriff, Gegenwart‘ bei Husserl und Merleau-Ponty

2017 ◽  
Vol 2017 (1) ◽  
pp. 39-54
Author(s):  
Jörg Zimmer
Keyword(s):  
Modern Philosophy ◽  
The Body ◽  
Fundamental Concept ◽  
Phenomenological Description ◽  
Philosophy Of Time ◽  
Phenomenology Of Perception ◽  
The World ◽  
Classical Philosophy ◽  
The Moment ◽  
Empty Time

In classical philosophy of time, present time mainly has been considered in its fleetingness: it is transition, in the Platonic meaning of the sudden or in the Aristotelian sense of discreet moment and isolated intensity that escapes possible perception. Through the idea of subjective constitution of time, Husserl’s phenomenology tries to spread the moment. He transcends the idea of linear and empty time in modern philosophy. Phenomenological description of time experience analyses the filled character of the moment that can be detained in the performance of consciousness. As a consequence of the temporality of consciousness, he nevertheless remains in the temporal conception of presence. The phenomenology of Merleau-Ponty, however, is able to grasp the spacial meaning of presence. In his perspective of a phenomenology of perception, presence can be understood as a space surrounding the body, as a field of present things given in perception. Merleau-Ponty recovers the ancient sense of ‘praesentia’ as a fundamental concept of being in the world.

PERILAKU PEDAGANG MUSLIM DALAM TINJAUAN ETIKA BISNIS ISLAM (KASUS DI PASAR LOAK JAGALAN KEDIRI)

2019 ◽  
Vol 2 (1) ◽  
Author(s):  
Alwi Musa Muzaiyin
Keyword(s):  
Business Ethics ◽  
Key Words ◽  
Luxury Goods ◽  
The World ◽  
Goods Market ◽  
Islamic Business Ethics ◽  
New Goods ◽  
The Many ◽  
Used Goods ◽  
The City

Trade is a form of business that is run by many people around the world, ranging from trading various kinds of daily necessities or primary needs, to selling the need for luxury goods for human satisfaction. For that, to overcome the many needs of life, they try to outsmart them buy products that are useful, economical and efficient. One of the markets they aim at is the second-hand market or the so-called trashy market. As for a trader at a trashy market, they aim to sell in the used goods market with a variety of reasons. These reasons include; first, because it is indeed to fulfill their needs. Second, the capital needed to trade at trashy markets is much smaller than opening a business where the products come from new goods. Third, used goods are easily available and easily sold to buyer. Here the researcher will discuss the behavior of Muslim traders in a review of Islamic business ethics (the case in the Jagalan Kediri Trashy Market). Kediri Jagalan Trashy Market is central to the sale of used goods in the city of Kediri. Where every day there are more than 300 used merchants who trade in the market. The focus of this research is how the behavior of Muslim traders in the Jagalan Kediri Trashy Market in general. Then, from the large number of traders, of course not all traders have behavior in accordance with Islamic business ethics, as well as traders who are in accordance with the rules of Islamic business ethics. This study aims to determine how the behavior of Muslim traders in the Jagalan Kediri Trashy Market in buying and selling transactions and to find out how the behavior of Muslim traders in the Jagalan Kediri Trashy Market in reviewing Islamic business ethics. Key Words: Trade, loak market, Islamic business

Anxious Breath

Screen Bodies ◽  
2020 ◽  
Vol 5 (1) ◽  
pp. 111-128
Author(s):  
Lara Bochmann ◽  
Erin Hampson
Keyword(s):  
Public Space ◽  
Self Determination ◽  
Short Film ◽  
Affective States ◽  
The World ◽  
In Trans ◽  
The Moment ◽  
Everyday Task

This article is a theoretical, audiovisual, and personal exploration of being a trans and non-binary person and the challenges this position produces at the moment of entering the outside world. Getting ready to enter public space is a seemingly mundane everyday task. However, in the context of a world that continuously fails or refuses to recognize trans and non-binary people, the literal act of stepping outside can mean to move from a figurative state of self-determination to one of imposition. We produced a short film project called Step Out to delve into issues of vulnerability and recognition that surface throughout experiences of crossing the threshold into public space. It explores the acts performed as preparation to face the world, and invokes the emotions this can conquer in trans and non-binary people. Breathing is the leading metaphor in the film, indicating existence and resistance simultaneously. The article concludes with a discussion of affective states and considers them, along with failed recognition, through the lens of Lauren Berlant’s concept of “cruel optimism.”

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