A signature event for organoids

Science ◽  
2017 ◽  
Vol 358 (6360) ◽  
pp. 183.5-184
Author(s):  
Paula A. Kiberstis
Keyword(s):  
Author(s):  
Emmy Herland

Written expression allows for communication across absences both spatial and temporal. In fact, Jacques Derrida argues in his essay “Signature Event Context” (1988) that absence is an element of every communication and, because of this absence, meaning shifts with new contexts and displacements. When the titular character of Gertrudis Gómez de Avellaneda’s 1841 Cuban-Spanish Gothic novel Sab – a black slave in love with his white mistress – dies immediately after finishing a letter, he imbues the writing with his presence by way of his first-person expression and personal narrative, while simultaneously ensuring his irreversible absence from his text by death. That his letter outlives him allows for the reiteration of Sab’s final words and thoughts each time his letter is reread. This play between absence and presence inherent in Sab’s letter is the same essential paradox of the specter as described by Derrida in Specters of Marx (1993). Sab’s combined presence and absence in his letter turns him into a kind of ghost that haunts those who read his words.In this paper, I analyze Sab’s letter and its rippling effect throughout the story. The letter acts to identify Sab — and through him the institution of slavery that he both represents and protests against — as the haunting figure of the novel. This haunting, by its very existence, critiques the remembrance of history.


2020 ◽  
pp. 105-134
Author(s):  
Alan Bass
Keyword(s):  

Traditio ◽  
2006 ◽  
Vol 61 ◽  
pp. 31-93 ◽  
Author(s):  
Paul Christesen ◽  
Zara Martirosova-Torlone

Sometime around 400 BC Hippias of Elis assembled the first cumulative list of victors in the Olympic Games. In the centuries that followed the victor list was regularly updated and widely circulated. The enduring popularity of Olympic victor lists, which the Greeks called Olympionikai, was due to the fact that, by the fourth century BC, numbered Olympiads and the names of Olympic stadion victors became a standard means of identifying individual years. (The stadion, a footrace over a distance of roughly 200 meters, was the signature event of the ancient Olympics.) The Olympic victor list thus became a basic chronological referent that was used by Greeks across much of the Mediterranean basin.


2019 ◽  
Vol 113 ◽  
pp. 299-311
Author(s):  
Sean D. Murphy

Welcome everyone. I am Sean Murphy, the President of the American Society of International Law, and I am delighted to have everyone here for what has become a signature event of our annual meeting.


Semiotica ◽  
2017 ◽  
Vol 2017 (217) ◽  
pp. 173-194
Author(s):  
Russell Daylight

AbstractOne of the less obvious contributions of Saussure is his role in establishing modern communications theory. The sender-message-receiver (SMR) model of communication was developed by Shannon and Weaver (1949, The mathematical theory of communication. Urbana, IL: University of Illinois Press). Within the humanities, it is Roman Jakobson’s version of the SMR model that is most influential. Jakobson’s model creates a methodology for considering such complexities as the sender’s intentions, the context of transmission, metalinguistic codes, the transmission medium, and the relation to the referent. Despite the complexity of Jakobson’s model, it is still bound by the assumption that perfect communication can be achieved through the full recovery of contexts. The most thorough and powerful critique of what’s often called the “transmission model” of communication is found in Jacques Derrida’s “Signature Event Context.” Derrida’s critique begins by demonstrating “why a context is never absolutely determinable” (1988a: 3, Signature event context. In Gerald Graff (ed.), Limited inc., Samuel Weber (trans.), 1–23. Evanston, IL: Northwestern University Press). In place of context, Derrida proposes the notion of “dissemination” in which a text is radically adrift of the conditions of its utterance or reception. At face value, Saussure’s “speech circuit” model represents an early and underdeveloped model of communication. As if often the case, however, a closer reading of the Cours reveals something far more radical and profound. Closer attention to Saussure’s speech circuit model re-opens many questions in communication theory, and in associated fields such as literary theory, cultural studies, and semiotics.


2017 ◽  
Vol 7 (3) ◽  
pp. e1814
Author(s):  
John I'Anson ◽  
Sandra Eady

“Partnership” is often promoted as an unquestioned “good” for higher education institutions in relation to its various stakeholder organizations. This paper seeks to problematize this uncritical valorization through a critical interrogation of the concepts and socio-material practices associated with partnership. In the name of partnership, new forms of governance are inaugurated that have far-reaching effects. More specifically, this paper is concerned with a critical analysis of partnership in relation to a longitudinal study of the relational practices between a university and five local authorities within a Scottish educational context. In particular, we trace how a “signature event” transformed a partnership assemblage, from one characterized by a grammar of participation, to a formal partnership aligned with a set of principles that we characterize as a grammar of representation. We argue that this transition led to a new assemblage that enacted new accountabilities, performativities, and alignments under the sign of partnership.


Author(s):  
Susan Bennett

This chapter looks at embodiment in Romeo and Juliet not in its typical context as an exemplary expression of romantic love, but instead as a prompt for contested nationality and a complex global politics. The case study for this discussion is the Iraqi Theatre Company’s adaptation, Romeo and Juliet in Baghdad, performed in London and Stratford-upon-Avon as part of the World Shakespeare Festival (a signature event within the Cultural Olympiad staged as part of the London 2012 celebrations). The Iraqi version of the play sets the well-known plot as a story of cross-sectarian love (the Capulets are Sunni and the Montagus Shia) and so dramatizes the contingent practices of Iraqi nationhood. Performances emphasized the national, religious, and gendered bodies at risk and challenged an English spectatorship who, I argue, were particularly unprepared for such a revision of the play.


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