scholarly journals APOKALIPSĖS KINAS KAIP KONTRFAKTINIS FENOMENAS

Problemos ◽  
2012 ◽  
Vol 81 ◽  
pp. 165-175
Author(s):  
Nerijus Milerius
Keyword(s):  
The Self ◽  
Self Identity ◽  
Special Mechanism ◽  
Privileged Position ◽  
Global Character ◽  
Anthony Giddens ◽  
The Everyday ◽  
The World ◽  
Relationship Of ◽  
The Relationship

Straipsnyje analizuojamas pramoginio apokalipsės kino ir kasdienybės santykis. Kinematografinius pasaulio pabaigos vaizdus ir kasdienybę įprasta traktuoti per jų tarpusavio opoziciją. Tačiau straipsnyje parodoma, jog tokia įprasta traktuotė yra smarkiai modifikuojama, jei domėn priimama kasdienybės  kontrfaktinių negatyvių galimybių sritis.Kaip argumentavo anglų teoretikas A. Giddensas, įprastoje kasdienių veiksmų, įvykių ir situacijų tėkmėje kontrfaktinės negatyvios galimybės yra suskliaustos ir užblokuotos, nes gresia kasdienio subjekto egzistencijai. Kad ir kokios, globalios ar lokalios, būtų kontrfaktinės galimybės – nuo Armagedono iki banalaus komiško eksceso, – jos neutralizuojamos kaip ardančios įprastos kasdienybės nustatytą tvarką.Apokalipsės kinas aktyvuoja suskliaustas kontrfaktines galimybes, bet kartu sukuria specifinį mechanizmą jas neutralizuoti. Taigi tai, kas kasdienybėje funkcionuoja savaime, beveik automatiškai, apokalipsės kine eksploatuojama intencionaliai. Kinematografiniame santykyje „matyti–būti matomam“žiūrovui suteikiama privilegijuota pozicija, leidžianti matyti, bet išlikti nematomam, nepaveiktam globalių destrukcijos vaizdų.Pagrindiniai žodžiai: apokalipsės kinas, kasdienybė, negatyvios kontrfaktinės galimybės.   Apocalypse Cinema as Counterfactual PhenomenonNerijus Milerius SummaryThe article deals with the relationship of apocalypse cinema genre to the everyday. Usually cinematic images of the end of the world and the routine everyday are treated through the prism of their mutual opposition. It is argued, however, that such interpretation should be essentially modified, by taking into account the realm of the negative counterfactual possibilities of the everyday.As Anthony Giddens has put it, in the habitual flow of everyday actions, events and situations, counterfactual negative possibilities are bracketed out and blocked, since negative counterfactual world threatens the self-identity of the everyday subject. All the counterfactual possibilities, irrespective to theirlocal or global character, small misunderstandings or Armageddon, are neutralized as something that destroys the pre-established everyday order. Apocalypse cinema activates bracketed counterfactual possibilities but also creates the special mechanism to neutralize them. Procedure, which functions in the ordinary everyday automatically, is created intentionally in the apocalypse cinema. In the cinematic relationship “to see – to be seen”, a spectatoris given the privileged position that allows him/her to see, but remain unseen, not affected by the images of the global destruction.Key words: apocalypse movie, the everyday, negative counterfactual possibilities.  

Androgynous motives in the novel “Pobeg Kumaniki” (“Bramble Sprout”) by Lena Eltang

2021 ◽  
pp. 148-160
Author(s):  
E. A. Poleva ◽  
Keyword(s):  
The State ◽  
The Self ◽  
Central Character ◽  
The Novel ◽  
Human Capabilities ◽  
The World ◽  
And Gender ◽  
Relationship Of ◽  
The Relationship

The novel “Pobeg Kumaniki” (“Bramble Sprout”) by Lena Eltang fits in with traditions of modernism, where the images of the androgyny are related to the problem of finding and obtaining “intelligible integrity.” The paper analyzes the methods of embodying androgynous motives (auto-associative intertextuality, temporal and gender variability of perception of re-ality, Moras’ representation of himself as a woman, the homosexual intention of the hero, the relationship of duality with different-sex characters, etc.). The novel reveals the androgyny semantics in the context of the split Self and the search for the fundamental basis that would unite the parts into a whole. Androgynous motives correlate with the themes of creativity and love. It is due to the desire to compensate for the brother’s dislike and parting with him that Moras creates the text. The absence of love is one of the novel’s central manifestations of the splinter motif (disintegration, separation) that is antonymous to androgyny. The storylines of the two characters (Forge and Moras) test different ways of achieving integrity. Two vectors of movement towards wholeness are revealed: one towards complexity, multidimensionality (combining the diversity of the world and the Self in consciousness and text) and one towards simplification (the disappearance of fragmentation in the state of the embryo, representing pure potency). However, all the methods only manifest the limitations of human capabilities. Androgyny is still an ideal not to be realized during earthly existence. Therefore, the Central character disappears in the finale.

Self and the Relationship with the Screen

2017 ◽  
pp. 1-9
Author(s):  
Yasmin Ibrahim
Keyword(s):  
Social Media ◽  
Digital Economy ◽  
The Self ◽  
Daily Lives ◽  
Digital Platforms ◽  
The Everyday ◽  
The World ◽  
Ongoing Relationship ◽  
The Relationship ◽  
Convergence Of Technologies

The self is performed through the banal of the everyday on social media. The banality of the everyday constitutes an integral part of our communication on digital platforms. Taking this as part of our performative lives in the digital economy, the paper looks at ways in which we co-produce the self through the banality of the everyday as well as a wider imagination and engagement with the world. These wider engagements are termed as ‘fictive' not because they are unreal but through a conceptual notion of how the self is performed and imagined through wider world events in digital platforms and screen cultures where convergence of technologies allow us to be constantly consumed through the screen as we live out our daily lives. The narration of our lives through the banal and the fictive constantly co-produces the self through a situated domesticity of the everyday and equally through the eventful. In the process it reveals our ongoing relationship with the screen as an orifice for the production of self and the construction of a social reality beyond our immediate domesticity.

scholarly journals O Sujeito Anímico e o Sujeito Espiritual em Ideias II

2021 ◽  
Vol 27 (3) ◽  
pp. 339-347
Author(s):  
Nathalie Barbosa de la CADENA
Keyword(s):  
The Body ◽  
The Self ◽  
The Other ◽  
Life World ◽  
The Everyday ◽  
The World ◽  
Everyday World ◽  
The Moment ◽  
The Relationship ◽  
Spiritual Attitude

In this article I intend to highlight how the relationship between psychic subject and spiritual subject is fundamental for the understanding of intersubjectivity and the life world (Lebenswelt). In Ideas II, Husserl explains how, from the self, subject and object are constituted in the world: nature, soul and spirit. These three strata of the being are known from the theoretical attitude and the spiritual attitude and, in the process, the self is explicit. In a theoretical attitude we have nature's constitution, for which the body (Körper / Leib) is fundamental. Then the constitution of objects of animic nature, human or animal, including self-perception. Assuming the spiritual attitude, the other is perceived (Urpräsenz) initially as a body together with things, and beside this perception there is an apprehension (Appräsenz) of co-given horizons. There is an identity between the body of others and mine, it is the moment of empathy (Einfühlung). The world constituted from a naturalistic or theoretical attitude is a reduction of the surrounding world (Umwelt), but the everyday world of the personalistic or spiritual attitude precedes it, the life-world (Lebenswelt). It is therefore through the personalistic or spiritual attitude that a community of spiritual subjects is constituted. Palavras-chave : Husserl; Soul; Spirit; Intersubjectivity; Life-world.

A Māori Girl Watches, Listens, and Learns – Coming of Age from an Indigenous Viewpoint: Mauri (Merata Mita, 1988)

2018 ◽  
Author(s):  
Alistair Fox
Keyword(s):  
Indigenous People ◽  
Coming Of Age ◽  
Natural World ◽  
Feature Film ◽  
Indigenous Woman ◽  
Spiritual Dimension ◽  
The World ◽  
Life Force ◽  
Relationship Of ◽  
The Relationship

This chapter examines Merata Mita’s Mauri, the first fiction feature film in the world to be solely written and directed by an indigenous woman, as an example of “Fourth Cinema” – that is, a form of filmmaking that aims to create, produce, and transmit the stories of indigenous people, and in their own image – showing how Mita presents the coming-of-age story of a Māori girl who grows into an understanding of the spiritual dimension of the relationship of her people to the natural world, and to the ancestors who have preceded them. The discussion demonstrates how the film adopts storytelling procedures that reflect a distinctively Māori view of time and are designed to signify the presence of the mauri (or life force) in the Māori world.

On Metaphysics and the Political: A Polemics of Reading Baudelaire in the 1930s

2019 ◽  
Vol 58 (2) ◽  
pp. 249-259
Author(s):  
Joseph Acquisto
Keyword(s):  
Twentieth Century ◽  
Political Crisis ◽  
The Political ◽  
Modern Poetry ◽  
Progressive Politics ◽  
The World ◽  
Relationship Of ◽  
The Relationship ◽  
Insight Into

This essay examines a polemic between two Baudelaire critics of the 1930s, Jean Cassou and Benjamin Fondane, which centered on the relationship of poetry to progressive politics and metaphysics. I argue that a return to Baudelaire's poetry can yield insight into what seems like an impasse in Cassou and Fondane. Baudelaire provides the possibility of realigning metaphysics and politics so that poetry has the potential to become the space in which we can begin to think the two of them together, as opposed to seeing them in unresolvable tension. Or rather, the tension that Baudelaire animates between the two allows us a new way of thinking about the role of esthetics in moments of political crisis. We can in some ways see Baudelaire as responding, avant la lettre, to two of his early twentieth-century readers who correctly perceived his work as the space that breathes a new urgency into the questions of how modern poetry relates to the world from which it springs and in which it intervenes.

The Dynamics of Society-in-the-Self

2018 ◽  
Author(s):  
Hubert J. M Hermans
Keyword(s):  
Social Environment ◽  
The Self ◽  
Boundary Crossing ◽  
The World ◽  
Self And Identity ◽  
New Vision ◽  
New Phenomena ◽  
The Relationship

In the field of tension between globalization and localization, a set of new phenomena is emerging showing that society is not simply a social environment of self and identity but works in their deepest regions: self-radicalization, self-government, self-cure, self-nationalization, self-internationalization, and even self-marriage. The consequence is that the self is faced with an unprecedented density of self-parts, called I-positions in this theory. In the field of tension between boundary-crossing developments in the world and the search for an identity in a local niche, a self emerges that is characterized by a great variety of contradicting and heterogeneous I-positions and by large and unexpected jumps between different positions as the result of rapid and unexpected changes in the world. The chapter argues that such developments require a new vision of the relationship between self and society.

Epilogue

2017 ◽  
Author(s):  
Joshua S. Walden
Keyword(s):  
The Body ◽  
The Self ◽  
The Individual ◽  
Relationship Of ◽  
The Relationship

The book’s epilogue explores the place of musical portraiture in the context of posthumous depictions of the deceased, and in relation to the so-called posthuman condition, which describes contemporary changes in the relationship of the individual with such aspects of life as technology and the body. It first examines Alfred Hitchcock’s Vertigo to view how Bernard Herrmann’s score relates to issues of portraiture and the depiction of the identity of the deceased. It then considers the work of cyborg composer-artist Neil Harbisson, who has aimed, through the use of new capabilities of hybridity between the body and technology, to convey something akin to visual likeness in his series of Sound Portraits. The epilogue shows how an examination of contemporary views of posthumous and posthuman identities helps to illuminate the ways music represents the self throughout the genre of musical portraiture.

IV.—The Geological Development, Descent and Distribution of the Mammalia

1893 ◽  
Vol 10 (9) ◽  
pp. 401-412 ◽  
Author(s):  
Karl A. von Zittel
Keyword(s):  
South America ◽  
The Past ◽  
Limited Experience ◽  
The World ◽  
Relationship Of ◽  
North And South America ◽  
The Relationship ◽  
North And South ◽  
Animal World

In a spirited treatise on the ‘Origin of our Animal World’ Prof. L. Rütimeyer, in the year 1867, described the geological development and distribution of the mammalia, and the relationship of the different faunas of the past with each other and with that now existing. Although, since the appearance of that masterly sketch the palæontological material has been, at least, doubled through new discoveries in Europe and more especially in North and South America, this unexpected increase has in most instances only served as a confirmation of the views which Rutimeyer advanced on more limited experience. At present, Africa forms the only great gap in our knowledge of the fossil mammalia; all the remaining parts of the world can show materials more or less abundantly, from which the course followed by the mammalia in their geological development can be traced with approximate certainty.

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