‘Salute to Radio’: The self-reflexive artistry of Betty Comden and Adolph Green in Fun with the Revuers

2020 ◽  
Vol 14 (2) ◽  
pp. 149-161 ◽  
Author(s):  
Sahoko Tsuji
Keyword(s):  
The Self ◽  
Linguistic Expression ◽  
Verbal Expression ◽  
Sound Recordings ◽  
Artistic Style ◽  
New Perspective ◽  
The Aesthetic

Betty Comden and Adolph Green are well-known librettists and lyricists of stage musicals and musical films; their artistic style and verbal expression are considered to bear urban witness to a period understanding of the 1940s and 1950s. Nonetheless, previous studies have scarcely investigated the aesthetic features of their dramaturgy, especially with regard to linguistic expression. This article focuses on the radio comedy Fun with the Revuers, for which they wrote scripts and lyrics. Through a close look at the scripts and sound recordings, it analyses the ‘interruptive sound and voice’ functions that construct the show, and examines how these satirize the conventions of the format, as well as the essential features of the medium. This article will offer a new perspective on the generational dynamics of Comden and Green’s artistry.

scholarly journals Metal Oxide-Related Dendritic Structures: Self-Assembly and Applications for Sensor, Catalysis, Energy Conversion and Beyond

Nanomaterials ◽  
2021 ◽  
Vol 11 (7) ◽  
pp. 1686
Author(s):  
Ruohong Sui ◽  
Paul A. Charpentier ◽  
Robert A. Marriott
Keyword(s):  
Metal Oxide ◽  
Energy Conversion ◽  
Self Assembly ◽  
Hierarchical Structures ◽  
The Self ◽  
Assembly Process ◽  
Electronic Noses ◽  
Dendritic Nanostructures ◽  
Energy Conversion And Storage ◽  
The Aesthetic

In the past two decades, we have learned a great deal about self-assembly of dendritic metal oxide structures, partially inspired by the nanostructures mimicking the aesthetic hierarchical structures of ferns and corals. The self-assembly process involves either anisotropic polycondensation or molecular recognition mechanisms. The major driving force for research in this field is due to the wide variety of applications in addition to the unique structures and properties of these dendritic nanostructures. Our purpose of this minireview is twofold: (1) to showcase what we have learned so far about how the self-assembly process occurs; and (2) to encourage people to use this type of material for drug delivery, renewable energy conversion and storage, biomaterials, and electronic noses.

scholarly journals California and Irony in Mad Men

2012 ◽  
Vol 18 (2) ◽  
Author(s):  
Rodney Taveira
Keyword(s):  
Visual Rhetoric ◽  
Soap Opera ◽  
The Self ◽  
Television Series ◽  
The Past ◽  
Mad Men ◽  
Intimate Relations ◽  
The Aesthetic

The combination of melodramatic and art cinematic techniques and influences in AMC’s television series Mad Men (2007¬–) reveals how a melodramatic televisuality can image novel modes of social and intimate relations and an alternative to the archetypal American narrative of the self-made man. Set in 1960s’ America, the series uses a contemporaneous and cosmopolitan California to triangulate the formal and narrative insistence of the past on the present. This triangulation is played out by Don Draper’s relations with his family, women, and his former identities and by the representation of homosexuality throughout the series. The application of Lee Edelman’s concept of “sinthomosexuality” and Richard Rorty’s “liberal ironist” reveal a queer, visual rhetoric to the show’s narrative and formal structures, forming a queer irony that allows the show to straddle the aesthetic extremes of “quality TV” (Jane Feuer) and soap opera, which, in turn, queers the exemplary American heterosexuality of Don Draper.

scholarly journals The role of a stylistic device in creating the image of the author

2020 ◽  
pp. 81-91
Author(s):  
N.V. Khalikova
Keyword(s):  
Main Subject ◽  
Artistic Style ◽  
The World ◽  
The Aesthetic ◽  
Subject Of Cognition ◽  
Artistic Image ◽  
Human Landscape ◽  
Stylistic Device ◽  
Book Culture

The purpose of the article is to compare the definitions of a stylistic device with modern philological ideas about the text and the image of the author as the main subject of cognition of reality in a feature. The methods of structural poetics make it possible to separate the stylistic means and methods as functionally different units of the artistic speech and the language of the writer. There is a steady connection between the worldview of the writer, their “image of the author” and their style. Autological and metalogical stylistic means are equally important for creating both an artistic and a non-artistic image (journalistic, scientific, everyday). Artistic means and techniques perform fundamentally different functions. Artistic means of image expressiveness contribute to the aesthetization of speech. Stylistic techniques organize the processes of meaning generation, preservation and transmission of meanings. The text records and reproduces artistic thinking, typical for this very writer, a set of ideas about a human, landscape, interior, ways of action and other classes of images. The artistic style is the same as the style of thinking, a level speech style of reflecting the perception of reality. The style can be adopted, it can be imitated and, thus, one can understand how the author thinks, what their manner of the aesthetic transformation of reality, forms of perception, is. The stylistic forms of the same author are reproduced from work to work, regardless of the plot and ideological content. To explain how the technique works is to identify the ways of the artistic thinking about the world (images). The stylistic device is closely connected with the intellectual book culture of society.

scholarly journals Computer Gameplay and the Aesthetic Practices of the Self: Game Studies and the Late Work of Michel Foucault

2018 ◽  
Vol 3 (3) ◽  
Author(s):  
Feng Zhu
Keyword(s):  
Michel Foucault ◽  
Computer Games ◽  
The Self ◽  
Game Studies ◽  
The Other ◽  
Late Work ◽  
Practices Of The Self ◽  
The Aesthetic ◽  
The One ◽  
The Way

This paper aims to critically introduce the applicability of Foucault’s late work, on the practices of the self, to the scholarship of contemporary computer games. I argue that the gameplay tasks that we set ourselves, and the patterns of action that they produce, can be understood as a form of ‘work on the self’, and that this work is ambivalent between, on the one hand, an aesthetic transformation of the self – as articulated by Foucault in relation to the care or practices of the self – in which we break from the dominant subjectivities imposed upon us, and on the other, a closer tethering of ourselves through our own playful impulses, to a neoliberal subjectivity centred around instrumentally-driven selfimprovement. Game studies’ concern with the effects that computer games have on us stands to gain from an examination of Foucault’s late work for the purposes of analysing and disambiguating between the nature of the transformations at stake. Further, Foucault’s tripartite analysis of ‘power-knowledge-subject’, which might be applied here as ‘game-discourse-player’, foregrounds the imbrication of our gameplay practices – the extent to which they are due to us and the way in which our own volitions make us subject to power, which is particularly pertinent in the domain of play.

DECORATIVE AND STYLISTIC ORIGINALITY OF UNTSUKUL ORNAMENTAL COMPOSITIONS NOTCHES OF G. GAZIMAGOMEDOV

2020 ◽  
pp. 97-104
Author(s):  
Anzhela Saidovna Saidova
Keyword(s):  
Material Culture ◽  
Russian Federation ◽  
Artistic Style ◽  
The Russian Federation ◽  
New Perspective ◽  
Ornamental Art ◽  
Complex Formations ◽  
Arabic Calligraphy

This article discusses the famous works of the national artist of the Russian Federation G. G. Gazimagomedov, characterizing his ornamental art in a new perspective, through complex formations taken from the traditional material culture of the Avars. The author made an attempt to cover present an artistic of the works of the applied artist, to identify the artistic style and direction in the modern ornamental Untsukul art of notching and inlay. Systematization and analysis of the ornamental notch of G. Gazimagomedov allowed us to get acquainted with the variety of different compositions. The artist in his works uses Arabic calligraphy and ancient Avar sustainable “nakish-ishans” (ornaments). The return to the folk origins contributes significantly to the development of traditional Untsukul art.

Vicarious gestures of participation

2018 ◽  
pp. 99-114
Author(s):  
Sruti Bala
Keyword(s):  
The Self ◽  
The Social ◽  
Collective Processes ◽  
The Aesthetic ◽  
Performance Projects ◽  
As If

Chapter IV follows two conceptually inspired performance projects by the Amsterdam-based Lebanese artist Lina Issa, Where We Are Not (2009) and If I Could Take Your Place? (2010 – ongoing). These works explore the question of what it means to take someone else’s place, to participate in someone’s life by doing something on their behalf, in the mode of ‘as if’. By analysing how this vicarious participation unfolds, the chapter foregrounds the spectatorial parameters of participation. The theorization of participation calls for an interweaving of the aesthetic with the social or political. Issa’s playful performances of standing in for others point to larger questions of what it means to participate in collective processes of imagining selfhood. The chapter suggests that the solidarity in the gesture of vicarious participation lies not so much in recognizing the so-called ‘other’ or in celebrating differences, but rather in being willing to dispossess oneself of the fixity of one’s ideas of the self, a potentially transformative gesture.

The Dialectics of Affect

Anxiety ◽  
2020 ◽  
pp. 133-174
Author(s):  
Bettina Bergo
Keyword(s):  
The Self ◽  
Human Race ◽  
Human Actions ◽  
Knowing That ◽  
The Status ◽  
History Of ◽  
New Perspective ◽  
Spiritual History

Initially influenced by Schelling’s lectures on positive philosophy (1841–1842), Kierkegaard ultimately withdrew from his lectures, devoting his attention exclusively to the redaction of Either/Or. The Concept of Anxiety was written in the shadow of that work under a uniquely anonymous pseudonym. Of course, anxiety in his deformalization of late idealism was not a concept; it belonged and did not belong to the understanding. Indeed, it precedes human actions under the sign of inherited “sinfulness” and as sheer possibility. If Kierkegaard aligned freedom with a leap, then anxiety was the affect precursive to it. Anxiety was the prethetic knowing that we are able to do. . . X. Tracing the “spiritual” history of the human race which carries the sins of the fathers even as it freely enacts sin, Kierkegaard urged that the more spiritual the culture, the more anxious it was. No longer the adjuvant of reason as in Hegel, anxiety belonged to the irreducible condition of a living subject. Over the five years that separated the Concept of Anxiety from Sickness onto Death, Kierkegaard’s mood of “Angest” will intensify as it is approached from his new perspective of Coram Deo (“before God”). Within the new perspective, the status and the meaning of the self is altered, showing a clearer relation to infinity. For the task of Kierkegaard’s philosophy—learning to become the nothing that one is—had attained a new stage in his existential dialectic. His arguments influenced Heidegger’s recourse to anxiety as a passage toward the question of being.

The Kantian Sublime and Greatness of Mind

2019 ◽  
pp. 197-214
Author(s):  
Emily Brady
Keyword(s):  
Virtue Ethics ◽  
Natural World ◽  
The Self ◽  
Moral Thought ◽  
Human Exceptionalism ◽  
The Sublime ◽  
The Aesthetic ◽  
Other Regarding

This chapter explores Kant’s discussion of the sublime in the Critique of the Power of Judgment (1790), in which the aesthetic subject becomes aware of a certain kind of greatness of mind. Kant’s scheme emphasizes respect for the moral capacities of the self as part of humanity, as well as admiration for greatness in the natural world. More broadly, his views show how ideas about greatness—if not magnanimity in the narrower sense—flow into philosophical approaches that lie beyond virtue ethics, moral thought, and human exceptionalism. The chapter argues that a comparative relation between self and sublime phenomena is central to understanding greatness of mind. Drawing out this comparative relation supports a deeper understanding of how both self-regarding and other-regarding attitudes feature within sublime experience, and just how this greatness might express itself within an aesthetic context.

Constructing the digital self in the Global South

2020 ◽  
Vol 9 (1) ◽  
pp. 1-13 ◽  
Author(s):  
Baird Campbell ◽  
Nell Haynes
Keyword(s):  
Special Section ◽  
Global South ◽  
Gender And Sexuality ◽  
The Self ◽  
Discursive Practices ◽  
Wide Range ◽  
Online Spaces ◽  
Global North ◽  
The Aesthetic ◽  
Self Formation

Abstract The papers in this special section examine how people in various contexts of the Global South “construct the self” in online spaces. With examples from Chile, Senegal, and Trinidad, the papers show the wide range of discursive practices, encompassing the textual and the aesthetic, which individuals use to enact gendered and sexual selves online. By privileging gender and sexuality as central components of selfhood, we draw from the longstanding attention paid to gender and sexuality in linguistic studies of identification (see Bucholtz & Hall 2004). In placing this concept within digital worlds, we pay attention to the ways in which daily life is now lived and experienced online. Authors in this issue think critically about practices of self-formation and the performance of gender and sexuality that differ from those that have normalized in the Global North, considering both revolutionary possibility, and re-entrenchment of constraint.

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