scholarly journals Os sentidos da revelação: Sophia e Herberto

2019 ◽  
Vol 38 (60) ◽  
pp. 97
Author(s):  
Paulo Ricardo Braz de Sousa
Keyword(s):  
Friedrich Nietzsche ◽  
Intimate Relationships ◽  
Theoretical Framework ◽  
Close Reading ◽  
The Senses ◽  
The Aesthetic

Resumo: Este ensaio busca investigar os sentidos da revelação poética nas obras de Sophia de Mello Breyner Andresen e Herberto Helder. Para tanto, é utilizado (principalmente, mas não apenas) um arcabouço teórico que atravessa as concepções filosóficas de Friedrich Nietzsche em torno da questão estética entre uma arte apolínea e outra dionisíaca, assim como suas intersecções. A partir de um exercício de leitura corpo a corpo dos poemas selecionados de ambos os autores, a ideia deste trabalho é reconhecer como estas distintas poéticas, cada qual ao seu modo, manifesta íntimas relações com a experiência do sagrado. Por fim, este ensaio projeta a possibilidade de fazer do procedimento crítico aqui desenvolvido um modo de leitura da moderna poesia portuguesa.Palavras-chave: Sophia de Mello Breyner Andresen; Herberto Helder; revelação poética; sagrado.Abstract: This essay tries to investigate the senses of poetic revelation in the works of Sophia de Mello Breyner Andresen and Herberto Helder. For that, a theoretical framework is used (mainly, but not only) that crosses the philosophical conceptions of Friedrich Nietzsche about the aesthetic question between an Apollonian and a Dionysian art, as well as its intersections. From an close reading exercise of the selected poems of both authors, the idea of this work is to recognize how these different poetics, each in its own way, manifests intimate relationships with the experience of the sacred. Finally, this article plans the possibility of making this critical procedure a way of reading modern Portuguese poetry.Keywords: Sophia de Mello Breyner Anresen; Herberto Helder; poetic revelation; sacred.

scholarly journals Powtórzenie niemożliwe. O estetycznym doświadczeniu przeszłości w Pannach z Wilka Jarosława Iwaszkiewicza

1970 ◽  
Author(s):  
Irena Górska
Keyword(s):  
Friedrich Nietzsche ◽  
Aesthetic Experience ◽  
Soren Kierkegaard ◽  
Aesthetic Experiences ◽  
Favourable Attitude ◽  
The Past ◽  
Experience Of Time ◽  
The Senses ◽  
The Aesthetic ◽  
Past Experiences

The author attempts to describe the aesthetic experiences of the past lived by the protagonist of Jarosław Iwaszkiewicz’s The Wilko Girls, and answer the question about the possibility of repetition. Elaborating on the arguments proposed by Friedrich Nietzsche in The Gay Science and by Søren Kierkegaard in Repetition, the author proves that even with a favourable attitude to one’s own past, an attempt to repeat past experiences is impossible. Nothing can be experienced again. The past is closed. The possibility of only partial access to it is created by human sensuality referring to the notion of aisthesis, which is the source of aesthetic experience. The senses stimulated by various sounds, smells, tastes, images, and the accompanying memories and emotions, constitute a vast spectrum of aesthetic experiences, making the experience of the past an existential experience of time.

scholarly journals Aesthesis decolonial y los tiempos relacionales Entrevista a Rolando Vázquez

2016 ◽  
Vol 11 (18) ◽  
pp. 76
Author(s):  
Rolando Vazquez ◽  
Miriam Barrera Contreras
Keyword(s):  
Contemporary Art ◽  
The Arts ◽  
Palabras Clave ◽  
The Creation ◽  
The Senses ◽  
The Difference ◽  
The Aesthetic ◽  
Arte Contemporáneo ◽  
The Way

RESUMEN Hay que pensar la decolonialidad en relación a las artes. En esta entrevista exploramos cómo las artes decoloniales se diferencian de la estética moderna/colonial. La decolonización de la estética conlleva la liberación de a la aiesthesis, es decir de las formas de relacionarnos con el mundo y de hacer mundo a través de los sentidos. La aiesthesis decolonial se distingue de los principios del arte contemporáneo y en particular de su sujeción a la temporalidad moderna, abriéndonos hacia las temporalidades relacionales. Los artistas decoloniales ejercen una temporalidad distinta que conlleva no sólo una crítica radical al orden de la representación y de la visualidad modernas sino que también nos dan la posibilidad de entender a la decolonialidad cómo un movimiento cargado de esperanza, cargado de la posibilidad de nombrar y vivenciar los mundos interculturales que han sido negados. PALABRAS CLAVE Decolonialidad, tiempo relacional, esperanza, cuerpo, interculturalidad KAI SUTI AESTHESIS ÑAGPAMANDA KAUSAKUNA TUKUIKUNAWA TAPUCHI SUG RUNATA ROLANDO VÁSQUEZ SUTITA SUGLLAPI Kaipi kawachinakumi iska ruraikuna ñugpamanda chasallata kunaurramanda. Kai suti aiesthesis, kawachiku imasami pai kawa kawachimanda ukusinama paipa iuaikunawa. Aiesthesis kame tukuikunamanda sugrigcha.Lsx artistxs kawachinakumi ñugpamanda kausikuna munankuna kawachingapa charrami kausanakunchi parlanakumi ñugpata imasami mana lisinsiaskakuna allí ruraikuna tukuikunamanda. IMA SUTI RIMAI SIMI: Ñugpamanda, parlaikuna sullai, nukanchi kikin, tukuikuna. DECOLONIAL AESTHESIS AND THE RELATIONAL TIMES. INTERVIEW WITH ROLANDO VÁSQUEZ ABSTRACT We have to hink the decoloniality in relation with the arts. This interview explores the difference between the modern/colonial aesthetic and the decolonial arts. The aesthetic decolonization leads to the release of the aesthesis, ergo it relates in every way to the connection and creation of a world through the senses. The decolonial aesthesis is particularly different from the contemporary art principles in the way it grasps the modern temporality consenting the creation of a path toward relational temporalities. The decolonial artists exercise a different temporality that results in not only a radical criticism to the modern representation and visuality but it makes possible to understand the decolonialization as a hopeful movement, full of possibilities for naming and experiencing neglected intercultural worlds. KEYWORDS Decolonialization, relational time, hope, body, interculturality ESTEHÉSIE DÉCOLONIALE ET LE TEMPS RELATIONNELS. ENTRETIEN À ROLANDO VASQUEZ RÉSUMÉ Il faut penser la décolonisation en relation aux arts. Dans cet entretien on explore comment les arts décoloniaux sont différents de l’esthétique moderne-coloniale. La décolonisation de l’esthétique entraîne la libération de l’estehésie, c’est-à-dire, la libération des façons de nous mettre en relation avec le monde et d’en créer un nouveau à travers les sens. L’estehésie décoloniale se différence des principes de l’art contemporain, principalement pour son fixation à la modernité en nous emmenant vers les temporalités relationnelles. Les artistes décoloniaux exercent avec une temporalité qui n’implique pas juste une critique radicale à l’ordre de la représentation et de la vision moderne, mais aussi de la possibilité de comprendre la décolonisation comme un mouvement plein d’espoir, chargé d’une possibilité de nommer et de mettre en relief les interculturalités qu’ont été niées. MOTS-CLEFS Décolonisation, temps relationnels, espoir, corps, interculturalité ESTESIA DESCOLONIAL E O TEMPO RELACIONAL ENTREVISTA A ROLANDO VAZQUEZ RESUMO Temos que pensar a descolonização em relação as artes. Nesta entrevista é explorado como as artes descoloniais são diferentes da estética moderna-colonial. A descolonização da estética conduz a emancipação da estesia, isto é, das formas de relacionamento com o mundo e da fôrma de fazer mundo a partir dos sentidos. A estesia descolonial distinguese dos princípios da arte contemporânea particularmente pela fixação o tempo moderno, abrindo-nos para a temporalidades relacionales. Os artistas descoloniais exercem uma temporalidade diferente que implica não só uma crítica radical à ordem da representação e à visão moderna, mas também à possibilidade de entender a descolonização como um movimento cheio de esperança, carregado da possibilidade de designar e viver os mundos interculturais que foram negados. PALAVRAS CHAVES Descolonização, esperança, tempo relacional, fôrma, intercultural.   Recibido el 20 de enero de 2015 Aceptado el 26 de febrero de 2015

Multisensory Integration

2008 ◽  
Vol 19 (10) ◽  
pp. 989-997 ◽  
Author(s):  
J.E. Lugo ◽  
R. Doti ◽  
Walter Wittich ◽  
Jocelyn Faubert
Keyword(s):  
Nervous System ◽  
Peripheral Nervous System ◽  
Multisensory Integration ◽  
Visual Stimulus ◽  
Lower Leg ◽  
Theoretical Framework ◽  
The Senses ◽  
The Brain

Multisensory integration in humans is thought to be essentially a brain phenomenon, but theories are silent as to the possible involvement of the peripheral nervous system. We provide evidence that this approach is insufficient. We report novel tactile-auditory and tactilevisual interactions in humans, demonstrating that a facilitating sound or visual stimulus that is exactly synchronous with an excitatory tactile signal presented at the lower leg increases the peripheral representation of that excitatory signal. These results demonstrate that during multisensory integration, the brain not only continuously binds information obtained from the senses, but also acts directly on that information by modulating activity at peripheral levels. We also discuss a theoretical framework to explain this novel interaction.

Censura y traducción

Babel ◽  
2006 ◽  
Vol 52 (1) ◽  
pp. 17-38
Author(s):  
Eterio Pajares
Keyword(s):  
Eighteenth Century ◽  
Common Sense ◽  
Spanish Version ◽  
Critical Study ◽  
Close Reading ◽  
History Of ◽  
Heavy Burden ◽  
The Aesthetic ◽  
Aesthetic Distance

Abstract Britain’s involvement in the War of the Spanish Succession was such a heavy burden for this country that many essays were written against prolonging the struggle. To this, John Arbuthnot (this satire was wrongly attributed to Swift for many years) contributed with The History of John Bull, a collection of fine satirical pamphlets designed to put and end to the campaign, and advocating a return to peace and common sense. It was soon translated into French and, from this language, Juan Ignacio de Ayestaran tried to produce a Spanish version. However, this version was not authorised by the harsh and voracious Spanish censorship of the period. This essay offers a comparative critical study of the translation and analyses the censors’ reasons for rejecting it. The close reading of this fine satirical work makes the arguments for rebuffing the authorisation so obvious that one wonders to what extent some eighteenth century translators were really aware of the time they were living in and the aesthetic distance between two countries so geographically near but so alien in freedom and tradition. Résumé Le rôle de la Grande-Bretagne dans la guerre de succession espagnole a été un tel fardeau pour ce pays que de nombreux essais ont été écrits contre la poursuite de la lutte. John Arbuthnot y a contribué avec L’histoire de John Bull (pendant de nombreuses années, cette satire a été attribuée à tort à Swift). Cette collection de superbes pamphlets satiriques, conçus pour mettre fin à la campagne et préconisant le retour à la paix et au bon sens, a rapidement été traduite en français. En partant de cette langue, Juan Ignacio de Ayestaran a tenté de produire une version espagnole. Toutefois, cette version n’a pas été autorisée par la censure espagnole, dure et dévorante, de l’époque. Cet essai propose une étude critique comparative de la traduction et analyse les raisons pour lesquelles le censeur l’a rejetée. Une lecture attentive de cette belle oeuvre satirique rend tellement évidents les arguments invoqués pour l’interdire qu’on se demande dans quelle mesure certains traducteurs du dix-huitième siècle étaient vraiment conscients de l’époque où ils vivaient et de la distance esthétique entre deux pays, si proches géographiquement parlant et pourtant si distants sur le plan de la liberté et de la tradition.

A Tour of the Senses

2019 ◽  
Author(s):  
Carolyn Korsmeyer
Keyword(s):  
Emotional Responses ◽  
Fine Art ◽  
Art World ◽  
The Senses ◽  
The Aesthetic

Abstract Traditionally, the bodily senses of smell, taste, and touch have been designated ‘nonaesthetic’ senses and their objects considered unsuited to be fashioned into works of fine art. Recent innovations in the art world, however, have introduced scents, tastes, and tactile qualities into gallery exhibits, movements that, at least superficially, appear parallel to philosophical revaluations of the senses. This paper investigates the aesthetic scope of the five external senses, addressing some standard arguments about the limits of the ‘lower’ senses. I defend the artistic scope of the bodily senses by appealing to cross-modal perception and to the sensuous aspects of appreciative emotional responses to art.

On the Possibility of Transcendental Materialism

1998 ◽  
pp. 61-66
Author(s):  
Ferenc L. Lendvai
Keyword(s):  
Social Ethics ◽  
Political Movement ◽  
Aesthetic Value ◽  
The Senses ◽  
The Aesthetic

The purpose of this address is to argue for the following theses: (1) the concept of transcendentality can be associated not only with idealism but also with materialism; (2) such a connection was made possible by Karl Marx's theory; and (3) in the development of Marxism up to now, theory has been tied to a political movement, which is an error of principle, for what survives of it is a kind of social ethics which should more appropriately be called Marxism. Transcendence and immanence are notions of relationship. Values exist sensually above the senses: e.g., the aesthetic value of a painting is not identical with the material of the canvas and the oils on it, although it cannot exist without them. Persons who do not recognize values that are transcendent compared to the merely natural immanence or, to put it in another way, those for whom nothing is sacred are in fact not truly human.

Between the lines: When culture, language and poetry meet in the classroom

2009 ◽  
Vol 43 (3) ◽  
pp. 349-365 ◽  
Author(s):  
Charlotte Melin
Keyword(s):  
Second Language ◽  
Second Language Acquisition ◽  
Target Language ◽  
Close Reading ◽  
Language And Culture ◽  
Teaching Objectives ◽  
Quantitative And Qualitative Research ◽  
Teaching Poetry ◽  
Literature Pedagogy ◽  
The Aesthetic

Teaching poetry in second language (L2) classrooms raises theoretical and practical questions about how best to treat literature when target language and culture is also being negotiated. Current pedagogy derives from disparate sources, including the experientially-driven practices of individual teachers, the quantitative and qualitative research methodologies of Second Language Acquisition, and the aesthetic, historical, and philosophical traditions of literature and cultural studies. This paper surveys the knowledge base that shapes literature pedagogy, examines the conceptual implications of two common approaches (close reading and genre-based treatments), and argues for new teaching objectives.

Transing Normative Boyhood Masculinity in Alain Berliner’s Ma Vie en Rose

2015 ◽  
Vol 8 (2) ◽  
pp. 43-60
Author(s):  
Gust A. Yep ◽  
Sage E. Russo ◽  
Ryan M. Lescure
Keyword(s):  
Theoretical Framework ◽  
Gender Performance ◽  
Close Reading ◽  
Sex And Gender ◽  
Social Categories ◽  
Gender Identities ◽  
Cultural Expectations ◽  
Social Circle ◽  
Gender Performances ◽  
And Gender

Offering a captivating exploration of seven-year-old Ludovic Fabre’s struggle against cultural expectations of normative boyhood masculinity, Alain Berliner’s blockbuster Ma Vie en Rose exposes the ways in which current sex and gender systems operate in cinematic representations of nonconforming gender identities. Using transing as our theoretical framework to investigate how gender is assembled and reassembled in and across other social categories such as age, we engage in a close reading of the film with a focus on Ludovic’s gender performance. Our analysis reveals three distinct but interrelated discourses—construction, correction, and narration—as the protagonist and Ludovic’s family and larger social circle attempt to work with, through, and against transgression of normative boyhood masculinity. We conclude by exploring the implications of transing boyhood gender performances.

scholarly journals TECHNOLOGIZING METAPHOR, DEMYSTIFYING TRAUMA: ALLEGORY IN THE FILM 27 STEPS OF MAY

2021 ◽  
Vol 20 (2) ◽  
pp. 238-248
Author(s):  
Rifki Zamzam Mustaffa ◽  
Aquarini Priyatna ◽  
Ari J. Adipurwawidjana
Keyword(s):  
Violence Against Women ◽  
Theoretical Framework ◽  
Close Reading ◽  
Narrative Texts ◽  
National Trauma ◽  
Marginalized Groups ◽  
Mise En Scene

This article aims at elaborating the issues of trauma, violence against women and their agencies depicted in Indonesianfilm entitled 27 Steps of May. By situating the issues within the theoretical framework combining theories on allegoryand metaphor as elaborated by Jameson (2006), and Jakobson (1956), as well as theoretical premises pertaining to filmtechnology by Turner (2002), this study shows how film as a form of narrative texts can visualize those issues throughavailable technological features (camera techniques and mise-en-scene). Our close reading finds that the film presentsmetaphors of rape, women agency, amnesia and trauma through the presentation of the characters (May, Bapak, Pesulapand Kurir), also the mise-en-scene in its scenes. We argue that this film visualizes an allegory of national trauma inrelation to Indonesian May 1998 riots, specifically the violence towards marginalized groups (Chinese and women),which also represents the Indonesian collective expectation in acknowledging the national trauma jointly.

Imagining the King’s Death: Figurative Treason, Fantasies of Regicide, 1793–1796, John Barrell, Oxford: Oxford University Press, 2000

2013 ◽  
Vol 21 (1) ◽  
pp. 196-208
Author(s):  
Danny Hayward
Keyword(s):  
Social Relations ◽  
Review Essay ◽  
Samuel Taylor Coleridge ◽  
The Other ◽  
Close Reading ◽  
Second Line ◽  
Oxford University ◽  
The Subject ◽  
The Aesthetic ◽  
The One

Abstract This review essay has two divisions. In its first division it sets out a brief overview of recent Marxist research in the field of ‘Romanticism’, identifying two major lines of inquiry. On the one hand, the attempt to expand our sense of what might constitute a ruthless critique of social relations; on the other, an attempt to develop a materialist account of aesthetic disengagement. This first division concludes with an extended summary of John Barrell’s account of the treason trials of the middle 1790s, as set out in his book Imagining the King’s Death. It argues that Barrell’s book is the most significant recent work belonging to the second line of inquiry. In its second division the review responds to Barrell’s concluding discussion, in which the aesthetic consequences of the treason trials are established by means of a close reading of some of the poetry of Samuel Taylor Coleridge. The division finishes with some more general remarks on the subject of a materialist aesthetics of disengagement.

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