scholarly journals Narração e Storytelling em Mysterious Object at Noon, de Apichatpong Weerasethakul

2014 ◽  
Vol 1 (2) ◽  
pp. 57-71
Author(s):  
José Bértolo
Keyword(s):  
Central Place ◽  
Film Structure ◽  
Close Analysis ◽  
As If ◽  
The Way ◽  
Oral Narration

Este texto propõe uma leitura de Mysterious Object at Noon (Apichatpong Weerasethakul, 2000), considerando questões de narração suscitadas pelo lugar central que o ato de storytelling ocupa no filme. Equacionam-se problemas tais como a ausência de texto prévio (argumento) e a atribuição de ordem ao filme pela narração oral, in loco, como se este se escrevesse à medida que vai sendo contado. Atentar-se-á em como, estruturando-se deste modo, o filme reflete sobre a especificidade do cinema enquanto máquina narrativa.AbstractThis essay is a close analysis of Mysterious Object at Noon, directed by Apichatpong Weerasethakul, in which are considered questions of narration motivated by the central place the act of storytelling holds in the film structure. Problems such as the nonexistence of a script and the way the film seems structured by oral narration, in loco, as if the film were being written as it is told, will be analyzed. Finally, I describe how, through this structure, the film reflects upon the specificity of cinema as a way of telling/showing stories. DOI: http://dx.doi.org/10.14195/2182-8830_1-2_4

Civil Society in UN Peacebuilding Discourse

2017 ◽  
Author(s):  
Laura J. Shepherd
Keyword(s):  
Civil Society ◽  
United Nations ◽  
Local Knowledge ◽  
Political Legitimacy ◽  
Civil Society Organizations ◽  
Conceptual Domain ◽  
Close Analysis ◽  
The United Nations ◽  
Over Time ◽  
The Way

Chapter 5 outlines the ways in which civil society is largely associated with “women” and the “local,” as a spatial and conceptual domain, and how this has implications for how we understand political legitimacy and authority. The author argues that close analysis reveals a shift in the way in which the United Nations as a political entity conceives of civil society over time, from early engagement with non-governmental organisations (NGOs) to the more contemporary articulation of civil society as consultant or even implementing partner. Contemporary UN peacebuilding discourse, however, constitutes civil society as a legitimating actor for UN peacebuilding practices, as civil society organizations are the bearers/owners of certain forms of (local) knowledge.

‘No Trickery with Montage’: On Reading a Sequence in Godard‘s Pierrot le fou

Film Studies ◽  
2004 ◽  
Vol 5 (1) ◽  
pp. 8-29
Author(s):  
Daniel Morgan
Keyword(s):  
Short Sequence ◽  
Single Event ◽  
Actual Structure ◽  
Close Analysis ◽  
The Way

This paper is organised around an analysis of a short sequence from Godard‘s Pierrot le fou (1965). Although the sequence appears to be a series of repetitions, close analysis reveals it to be a single event presented in a carefully fragmented order. This unexpected fact generates questions about how to account for the relation between our initial beliefs about the organisation of the sequence and our knowledge of its actual structure. We come to see, in an intimate way, that reflection on the way we watch and understand film is one of the central themes of Godard‘s filmmaking.

Maimonides and the Pre-Maimonidean Jewish Philosophical Tradition According to Hermann Cohen

2010 ◽  
Vol 18 (1) ◽  
pp. 1-26 ◽  
Author(s):  
Aaron W. Hughes
Keyword(s):  
Central Place ◽  
Philosophical Tradition ◽  
Critical Reading ◽  
Prime Matter ◽  
Hermann Cohen ◽  
Aristotelian Metaphysics ◽  
The Way

AbstractThis paper examines Hermann Cohen’s idiosyncratic construction of a medieval Jewish philosophical tradition, focusing primarily, though not exclusively, on his Charakteristik der Ethik Maimunis. This construction, not unlike modern accounts, is filtered through the central place of Maimonides. For Cohen, however, Maimonides’ centrality is defined not by his systematization of Aristotelianism, but by his elevation of ethics over metaphysics. The ethical and pantheistic concerns of Maimonides’ precursors, according to this reading, anticipate his uniqueness. Whereas Shlomo ibn Gabirol’s pantheistic doctrine of emanation, for example, assigned little weight to ethics, Abraham ibn Daud rebelled against such a doctrine. Ibn Daud—much like Bahya ibn Paquda and Abraham ibn Ezra—becomes part of a Jewish philosophical tradition that culminates in Maimonides’ rejection of Aristotelian metaphysics. In particular, this paper examines the way in which Cohen envisaged the pre-Maimonidean philosophical tradition, putting his highly critical reading of Shlomo ibn Gabirol and his pantheistic obsession with prime matter in counterpoint with his more favorable readings of Abraham ibn Daud and Bahya ibn Paquda.

Is God Really in History?

1979 ◽  
Vol 15 (3) ◽  
pp. 379-390
Author(s):  
Frederick Sontag
Keyword(s):  
Nineteenth Century ◽  
Human Life ◽  
History Of ◽  
The Relationship ◽  
As If ◽  
The Way

For some time it seemed as if Christianity itself required us to say that ‘God is in history’. Of course, even to speak of ‘history’ is to reveal a bias for eighteenth- and nineteenth-century forms of thought. But the justification for talking about the Christian God in this way is the doctrine of the incarnation. The centre of the Christian claim is that Jesus is God's representation in history, although we need not go all the way to a full trinitarian interpretation of the relationship between God and Jesus. Thus, the issue is not so much whether God can appear or has appeared within, or entered into, human life as it is a question of what categories we use to represent this. To what degree is God related to the sphere of human events? Whatever our answer, we need periodically to re-examine the way we speak about God to be sure the forms we use have not become misleading.

Who is pulling the strings in the platform economy? Accounting for the dark and unexpected sides of algorithmic control

Organization ◽  
2021 ◽  
pp. 135050842097452
Author(s):  
Edouard Pignot
Keyword(s):  
Digital Control ◽  
Central Place ◽  
Dark Side ◽  
Theoretical Contribution ◽  
Ethical Implications ◽  
Labour Process ◽  
Structuralist Theory ◽  
Ideological Fantasy ◽  
Platform Economy ◽  
The Way

This paper aims to address the dark side perspective on digital control and surveillance by emphasizing the affective grip of ideological control, namely the process that silently ensures the subjugation of digital labour, and which keeps the ‘unexpectedness’ of algorithmic practices at bay: that is, the propensity of users to contest digital prescriptions. In particular, the theoretical contribution of this paper is to combine Labour Process with psychoanalytically-informed, post-structuralist theory, in order to connect to, and further our understanding of, how and why digital workers assent to, or oppose, the interpellations of algorithmic ideology at work. To illustrate the operation of affective control in the Platform Economy, the emblematic example of ride-hailing platforms, such as Uber, and their algorithmic management, is revisited. Thus, the empirical section describes the way drivers are glued to the algorithm (e.g. for one more fare, or for the next surge pricing) in a way that prevents them, although not always, from considering genuine resistance to management. Finally, the paper discusses the central place of ideological fantasy and cynical enjoyment in the Platform Economy, as well as the ethical implications of the study.

Touching Photographs: Roland Barthes's ''Mistaken'' Identification

2002 ◽  
Vol 80 (1) ◽  
pp. 99-118 ◽  
Author(s):  
Margaret Olin
Keyword(s):  
Emotional Response ◽  
Point Of View ◽  
Small Child ◽  
Camera Lucida ◽  
Close Analysis ◽  
Intimate Relation ◽  
The Subject ◽  
Mistaken Identification ◽  
The Way

IN CAMERA LUCIDA, ROLAND BARTHES'S subject is the significance of photography's defining characteristic: the photograph's inseparable relation to its subject, that which ''must have been'' in front of the camera's lens. Or so it would seem. The present reading of Camera Lucida argues that Barthes's essay actually shows photography's nature as dependent not only on the intimate relation to its object, commonly termed ''indexical,'' but in accord with its relation to its user, its beholder. An examination of Barthes's encounters with photographs in Camera Lucida reveals the way in which identification and misidentification figure into the viewing of images, and suggests that contact between the beholder and the photograph actually eclipses the relation between the photograph and its subject. Barthes's focus on the emotional response of the viewer disguises the fact that he misidentified key details in Camera Lucida's photographs, most significantly in a 1927 portrait by James Van Der Zee and in the ''Winter Garden Photograph.'' This latter photograph of Barthes's recently deceased mother as a small child is famously not illustrated in the book. This essay argues that it is fictional. These ''mistakes'' suggest that Camera Lucida undermines its ostensible basis in indexicality. The subject did not have to be in front of the camera after all. The present rereading of the text from this point of view articulates a notion of performativity according to which the nature of the contact that exists between the image and the viewer informs the way an image is understood. Barthes's desire to find his mother again through her photograph to a large extent acts out his desire to re(per)form and make permanent his relation to her, a desire that he elucidates in the process of describing his search for her picture and his reaction to it when he finds it. This performative element is charged with identification; the person the narrator (Barthes) seeks, in his mother, is himself. A close analysis of the ''Winter Garden Photograph,'' as described by Barthes, shows how performances of identification are inscribed with gender and familial configurations.

Heart disease and gender in mass print media

2008 ◽  
Vol 14 (1) ◽  
pp. 18-20
Author(s):  
Juanne Clarke
Keyword(s):  
Heart Disease ◽  
Cause Of Death ◽  
Heart Attack ◽  
Print Media ◽  
Men And Women ◽  
High Achieving ◽  
And Gender ◽  
Developed World ◽  
As If ◽  
The Way

Heart disease is a major cause of death, disease and disability in the developed world for both men and women. Nevertheless, the evidence suggests that women are under-diagnosed both because they fail to visit the doctor with relevant symptoms and because doctors tend to dismiss the seriousness of women's symptoms of heart disease. This study examines the way that popular mass print media present the possible links between gender and heart disease. The findings suggest that the ‘usual candidates’ for heart disease are considered to be high achieving and active men for whom the ‘heart attack’ is sometimes seen as a ‘badge of honour’ and a symbol of their success. In contrast, women are less often seen as likely to succumb, but they are portrayed as if they are and ought to be worried about their husbands. Women's own bodies are described as so problematic as to be perhaps useless to diagnose, because they are so difficult to understand and treat.

scholarly journals Apples and Pears: Symbolism and Influence in Daphne du Maurier’s ‘The Apple Tree’ and Katherine Mansfield’s ‘Bliss’

2016 ◽  
Author(s):  
Setara Pracha
Keyword(s):  
Apple Tree ◽  
Mental States ◽  
Katherine Mansfield ◽  
Organic Unity ◽  
Liminal Spaces ◽  
Close Analysis ◽  
Daphne Du Maurier ◽  
The Way

This essay offers a parallel reading of two stories, ‘Bliss’ by Katherine Mansfield and ‘The Apple Tree’ by Daphne du Maurier, revealing a hitherto unexamined yet fruitful area of research. Dramatic irony, organic unity and liminal spaces are identified and discussed in terms of how these are used to represent subconscious and conscious perceptions of reality. The plots incorporate symbols from well-known myths to suggest extreme mental states in narratives that invite the reader to occupy psychological spaces of delusion and fantasy. Material from previously unpublished letters reveals the extent to which Mansfield influenced du Maurier’s writing and this close analysis demonstrates how examining these writers in tandem provides a valuable mean of accessing their work in a new way. Du Maurier’s critical reputation is current undergoing a process of revision which echoes the way in which Mansfield has come to be increasingly regarded as one of the ‘high priestesses’ of modernism.

scholarly journals Terminology: Aboutness, Representation, and Metasemantics

2021 ◽  
pp. 51-58
Author(s):  
Herman Cappelen ◽  
Josh Dever
Keyword(s):  
Language Use ◽  
Complex Nature ◽  
Human Beings ◽  
As If ◽  
The Way

This short chapter does two things. First, it shows that in fact workers in AI frequently talk as if AI systems express contents. We present the argument that the complex nature of the actions and communications of AI systems, even if they are very different from the complex behaviours of human beings, and the way they have ‘aboutness’, strongly suggest a contentful interpretation of those actions and communications. It then introduces some philosophical terminology that captures various aspects of language use, such as the ones in the title, to better make clear what one is saying—philosophically speaking—when one claims AI systems communicate, and to provide a vocabulary for the next few chapters.

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