scholarly journals Hearing Is Believing

Resonance ◽  
2021 ◽  
Vol 2 (1) ◽  
pp. 19-26
Author(s):  
R.A. Frumkin
Keyword(s):  
White Supremacy ◽  
Cultural Appropriation ◽  
Television Show ◽  
Moving Images ◽  
History Of ◽  
To Come ◽  
Popular Television ◽  
The Way

This essay explores music’s power to explicate, exaggerate, and even undermine moving images, examining first the marriage of sound and film through the invention of the Vitaphone and later illustrating the maturation of this marriage through an exegesis of Nicholas Britell’s score for the popular television show Succession. The Vitaphone debuted with Al Jolson’s The Jazz Singer, a film that made Jolson a household name and further popularized the vaudeville tradition of blackface. It is no coincidence that the synchronization of sound and film—a major innovation that would change the way we think of both for decades to come—had such racist origins, as the history of American innovation is also the history of capitalist white supremacy. Succession concerns the Roys, a legacy media family whose scion, Kendall, considers himself an innovator. Through Britell’s instrumentals, which are written to reflect Kendall’s ups and downs, we come to understand the score not as a simple, uncritical accompaniment of Succession’s images (as the Vitaphone was for The Jazz Singer) but as an anticapitalist voice of its own, delivering criticisms of Kendall’s avarice and cultural appropriation while still evincing compassion for him as he plunges deeper into addiction. This essay maintains that sound in film, a technology with troubling origins, is now capable of asserting itself apart from that film and thus delivering a dialectical criticism of those very origins.

The Promise of the Trans* Body: Twisted Liminalities of Gender in Transparent

2019 ◽  
Vol 26 (8-9) ◽  
pp. 1071-1078
Author(s):  
David Lee Carlson ◽  
Joseph David Sweet
Keyword(s):  
Helene Cixous ◽  
Television Show ◽  
Feminist Thought ◽  
The Family ◽  
History Of ◽  
Popular Television

This article employs the feminist thought of Helene Cixous to explore the liminality of gender. It does so through the story of Maura in the popular television show, Transparent. The article begins with a review of the history of the term “transgender” and links it to Cixous’s theory. After explicating Cixous’s theory, we “wander” through the character of Maura. We use Cixous’s notion of wandering to show how Maura moved from being the patriarch of the family to being a trans* woman. The article illustrates how liminality of gender exists as a whirlpool and as a promise for gender to be written as text as flesh.

scholarly journals READING TOURS INTO MALAYSIAN NARRATIVES: LOCALES IN THE GARDEN OF EVENING MISTS AND THE NIGHT TIGER

2021 ◽  
Author(s):  
Swagata Sinha Roy ◽  
◽  
Kavitha Subaramaniam ◽  
Keyword(s):  
Cultural History ◽  
Small Towns ◽  
The Novel ◽  
Written Narratives ◽  
Cameron Highlands ◽  
History Of ◽  
Research Questions ◽  
Japanese Gardens ◽  
To Come ◽  
The Way

If one has not read local English novels like The Garden of Evening Mists and The Night Tiger, one would never be able to imagine the wonders of locales depicted in these two books. One of the reasons the authors here want to visit a said destination is because of the way a certain place is pictured in narratives. Tan Twan Eng brings to life the beauty of Japanese gardens in Cameron Highlands, in the backdrop of postWorld War II while Yangsze Choo takes us into several small towns of Kinta Valley in the state of Perak in her beautifully woven tale of the superstitions and beliefs of the local people in Chinese folklore and myth in war torn Malaysia in the 1930s and after. Many of the places mentioned in these two novels should be considered places to visit by tourists local and international. Although these Malaysian novelists live away from Malaysia, they are clearly ambassadors of the Malaysian cultural and regional heritage. In this paper, a few of the places in the novel will be looked at as potential spots for the coming decade. The research questions considered here are i) what can be done to make written narratives the new trend to pave the way for Visit Malaysia destinations? ii) how could these narratives be promoted as guides to the history and culture of Malaysia? The significant destinations and the relevant cultural history of the regions will be discussed in-depth to come to a relevant conclusion.

Something to Come

Derrida Today ◽  
2010 ◽  
Vol 3 (2) ◽  
pp. 269-294
Author(s):  
H. Peter Steeves
Keyword(s):  
Focal Point ◽  
Natural Laws ◽  
History Of ◽  
To Come ◽  
The Way

The long history of the overlap of science and philosophy finds a focal point in cosmology. In an effort to examine what happens when science and deconstruction encounter, this essay thus begins with, and follows the path of, cosmology. I start by suggesting a new solution to the oldest question in cosmology: why is there something rather than nothing? From this, I attempt to outline the way in which necessity is thought to operate by means of natural laws, tracing the sense in which science's demand for falsifiable claims creates an aporia in which its truths are not ultimately truthful and its necessity is not necessary. Focusing on the ways in which différance and the autoimmune can help us open up the work of science, I come to suggest two new tropes, that of apoptosis and the remainder, arguing that the inherent openness of science can be one of its strengths, especially if we ask the question of what remains to be asked once science has answered a question.

scholarly journals Diglossic past and present lexicographical practices

2002 ◽  
Vol 26 (3) ◽  
pp. 219-252 ◽  
Author(s):  
Assimakis Tseronis
Keyword(s):  
Present State ◽  
The Other ◽  
Greek Language ◽  
Cultural Changes ◽  
Modern Greek ◽  
The Past ◽  
History Of ◽  
To Come ◽  
Language Question ◽  
The Way

The publication of a dictionary is a means to describe, codify and ultimately standardise a language. This process is complicated by the lexicographer’s own attitude towards the language and the public’s sensitivity on language matters. The recent publication of the two most authoritative dictionaries of Modern Greek and their respective lexical coverage reveals the continuing survival of the underlying ideologies of the two sponsoring institutions concerning the history of the Greek language, as well as their opposing standpoints on the language question over the past decades, some 25 years after the constitutional resolution of the Greek diglossia, affecting the way they describe the synchronic state of language. The two dictionaries proceed from opposing starting points in attempting to influence and set a pace for the standardisation of Modern Greek by presenting two different aspects of the synchronic state of Greek, one of which focuses on the long history of the language and thus takes the present state to be only a link in an uninterrupted chain dating from antiquity, and the other of which focuses on the present state of Greek and thus takes this fully developed autonomous code to be the outcome of past linguistic processes and socio-cultural changes in response to the linguistic community’s present needs. The absence of a sufficiently representative corpus has restrained the descriptive capacity of the two dictionaries and has given space for ideology to come into play, despite the fact that both dictionaries have made concessions in order to account for the present-day Greek language.

Theory of the Image

2019 ◽  
Author(s):  
Thomas Nail
Keyword(s):  
Philosophy Of Art ◽  
Western Art ◽  
Moving Images ◽  
Copernican Revolution ◽  
Systematic Philosophy ◽  
History Of ◽  
Image Production ◽  
The Aesthetic ◽  
Theory Of The Image ◽  
The Way

We live in the age of the mobile image. Our world is now saturated with moving images of all kinds, both analog and digital. This sea change in image production and circulation is nothing less than the Copernican revolution of our time. The centrality of the movement and mobility of the image has never been more dramatic. And just like the Copernican revolution, the aesthetic revolution of the image has consequences not only for the way we think about the contemporary image but also the way we think about all previous images. Theory of the Image offers a new and systematic philosophy of art and aesthetics from the perspective of movement—the first of its kind. Throughout history, the image has been understood in many ways, but rarely has it been understood to be, primarily and above all, in motion. Thus, Theory of the Image offers not only the first aesthetics of motion but also the first history of the mobility of the image in the Western art tradition, from prehistory to the present.

Prescription for Change

2016 ◽  
Author(s):  
Michael Kinch
Keyword(s):  
Public Health ◽  
Twentieth Century ◽  
Research And Development ◽  
Global Economy ◽  
Business Strategies ◽  
New Models ◽  
History Of ◽  
To Come ◽  
The Way

The introduction of new medicines has dramatically improved the quantity and quality of individual and public health while contributing trillions of dollars to the global economy. In spite of these past successes--and indeed because of them--our ability to deliver new medicines may be quickly coming to an end. Moving from the beginning of the twentieth century to the present, A Prescription for Change reveals how changing business strategies combined with scientific hubris have altered the way new medicines are discovered, with dire implications for both health and the economy. To explain how we have arrived at this pivotal moment, Michael Kinch recounts the history of pharmaceutical and biotechnological advances in the twentieth century. Kinch relates stories of the individuals and organizations that built the modern infrastructure that supports the development of innovative new medicines. He shows that an accelerating cycle of acquisition and downsizing is cannibalizing that infrastructure Kinch demonstrates the dismantling of the pharmaceutical and biotechnological research and development enterprises could also provide opportunities to innovate new models that sustain and expand the introduction of newer and better breakthrough medicines in the years to come.

Ethnicity and Bias in Police Contact Statistics

1993 ◽  
Vol 26 (3) ◽  
pp. 193-206 ◽  
Author(s):  
D M Fergusson ◽  
L J Horwood ◽  
M T Lynskey
Keyword(s):  
New Zealand ◽  
Birth Cohort ◽  
Pacific Island ◽  
Police Contact ◽  
Different Types ◽  
History Of ◽  
To Come ◽  
Official Police ◽  
Logistic Modelling ◽  
The Way

The relationships between ethnicity, self/parentally reported offending and rates of police contact were examined in a birth cohort of Christchurch (New Zealand) born children studied to the age of 15 years. This analysis suggested that whilst children of Maori/Pacific Island descent offended at a significantly higher rate than European (Pakeha) children, there were clear differences in the magnitude of ethnic differentials in offending depending on the way in which offending was measured. On the basis of self/parentally reported offending, children of Maori/Pacific Island descent offended at about 1.7 times the rate of Pakeha children. However, on the basis of police contact statistics these children were 2.9 times more likely to come to police attention than Pakeha children. These differences between self/parentally reported offending rates and rates of police contact could not be explained by the fact that Maori/Pacific Island children offended more often or committed different types of offences than Pakeha children. Logistic modelling of the data suggested that children of Maori/Pacific Island descent were in the region of 2.4 times more likely to come to official police attention than Pakeha children with an identical self/parental reported history of offending. These results are generally consistent with the hypothesis that official police contact statistics contain a bias which exaggerates the differences in the rate of offending by children of Maori/Pacific Island descent and Pakeha children.

Brief Remembrance of Things Past and Hopes for Things to Come

PMLA ◽  
1984 ◽  
Vol 99 (3) ◽  
pp. 322-325 ◽  
Author(s):  
George Winchester Stone
Keyword(s):  
Annual Meeting ◽  
Professional Society ◽  
National Council ◽  
Research Association ◽  
College English ◽  
Special Groups ◽  
Anniversary Issue ◽  
History Of ◽  
To Come ◽  
The Way

We're short on charter members, this year, who can speak of the debates waged and principles established when the original forty men gathered in Hamilton Hall at Columbia College to set this learned and professional society afoot. But twenty-five years ago, on the occasion of our diamond jubilee, I wrote up a history of the MLA for the special anniversary issue of PMLA, relying heavily on a work by my predecessor, William Riley Parker. No need to repeat here the contents of that sixteen-page, double-column essay. No need to remind a present reader (as Chaucer used to say in almost any of his delightful exercises in occupatio) of the long record the MLA has in stimulating and helping other humanistic societies along the way or of its long-standing umbrellalike policy of providing hospitality at annual meetings for any number of special groups and interests, from the Milton and Melville societies to the National Council of Teachers of English, the College English Association, and the Modern Humanities Research Association. Now, I believe, it provides local habitation to some eighty-four such. To witness at any annual meeting these days six thousand humanistic scholars and teachers busying themselves for three days with their scholarly concerns is to sense the pulse beats (a little frantic to be sure) of a healthy and civilized activity in a troublesome world.

scholarly journals Italy’s fascist past: A difficult reckoning

2018 ◽  
Vol 40 (3) ◽  
pp. 23-34
Author(s):  
Filippo Focardi
Keyword(s):  
World War Ii ◽  
National Socialism ◽  
World War ◽  
Politics Of Memory ◽  
Benito Mussolini ◽  
Italian Fascism ◽  
History Of ◽  
To Come ◽  
Popular Television ◽  
Totalitarian Regimes

ITALY’S FASCIST PAST: A DIFFICULT RECKONINGIn January 2002, a survey conducted by a popular television program revealed that 25 percent of young Italians held a favorable opinion of Fascism and Dictator Benito Mussolini. Shortly thereafter, Italy’s most prominent scholar of Fascism, Emilio Gentile, warned of a “retroactive de-fascistization” in Italian society: the widespread tendency to cast fascism in a benevolent light forgetting, or softening, its repressive and brutal features. For many Italians, Fascism was very diff erent from Nazism and Communist Totalitarianism — it might have been an authoritarian regime but it was not a bloody one. This assessment was no doubt further conditioned by the politics of memory promoted at that time by Silvio Berlusconi’s center-right government. However the origins of this watered-down interpretation go back much further. The idea that Italian Fascism was not on a par with other totalitarian regimes took root in the collective conscience following the end of World War II, as Italy attempted to rehabilitate its reputation in the eyes of the world, hoping to be spared harsh judgment and punishment on the international stage. Its cornerstone was the contrast between Italian Fascism and German National Socialism. On one side, the brutality and ideological fanaticism of the Nazis and on the other, the Italian Fascists, who according to the narrative were over-bearing but not so criminal This distinction between Fascism and Nazism has permeated Italian public opinion throughout the history of the Italian Republic. It was shared by historian Renzo De Felice and pervasive from the 1980s onward in mass media which were inspired by the new wave of revisionism.Over the last twenty years, the ‘dark pages’ of Italian Fascism — from the regime’s anti-Semitic policies to crimes committed in the colonies and Balkan territories occupied during the Second World War — have been thoroughly investigated in the historiography. Broad sectors of the public still however consider Fascism a mild dictatorship not without its merits. The country that invented Fascism, therefore, is still struggling to come to terms with the legacy of its Fascist past.

Tricity Vogue’s ‘blueing up’ as sedimented resistance: Extravagant costume and the expanded field of dressing up

2020 ◽  
Vol 5 (2) ◽  
pp. 175-190 ◽  
Author(s):  
Jacki Willson
Keyword(s):  
Urban Space ◽  
Gender And Sexuality ◽  
Cultural Appropriation ◽  
Postcolonial Feminism ◽  
Difficult Conversations ◽  
History Of ◽  
Josephine Baker ◽  
The Way ◽  
Racial Stereotyping ◽  
Speaking For Others

My focus in this article is to understand the way theatrical costume is performed in subcultural cabaret spaces, specifically The Blue Lady Sings Back by London-based cabaret singer Tricity Vogue. This show premiered at The Royal Vauxhall Tavern in the area of Vauxhall in South London that already has an embedded history of hedonistic pleasure. With reference to Dorita Hannah’s ‘expanded’ notion of costume as a ‘body-object-event’ and Jasbir Puar’s broader understanding of categories of race, gender and sexuality as events and bodily encounters, I seek to understand the way theatrical feminine costume enfolds dissident and marginalized histories of resistant urban space and site. In this show, Tricity Vogue undertakes multiple costume changes that embody various histories and contexts of cabaret performance: as Bollywood dancer Madhuri Dixit, as a European Marlene Dietrich-like cabaret singer and as a Josephine Baker-esque character in a banana skirt. All of this whilst wearing a blue stocking and blue body paint, effectively ‘blueing’ up. This steps into an uncomfortable territory in what could be seen as cultural appropriation, racial stereotyping and speaking for others. This concern also has currency within the contemporary burlesque community who are acutely self-conscious and politicized as regards this kind of costume and performative appropriation. Sara Ahmed’s conceptualization of feminist killjoys (2017) will be employed to better understand these difficult conversations about dressing up with Aoife Monks’ (2010) discussion of multiple costume changes being used as a strategy for ‘undoing’ stereotypes and rethinking a feminist ‘we’. By also drawing on diva studies, which builds on Lauren Berlant’s concept of ‘diva citizenship’, and postcolonial feminism, I will argue that the costumed cabaret body becomes a medium for women to politicize and reframe pleasure through the costumed spectacle of cabaret’s various erotic and exotic muses.

Sign in / Sign up

Export Citation Format

Share Document