scholarly journals A Língua Política e a Política Poética na Poesia Encarnada de Alex Simões

eLyra ◽  
2020 ◽  
pp. 69-87
Author(s):  
Djalma Thurler ◽  
Duda Woyda
Keyword(s):  
The Real ◽  
Hybrid Processes ◽  
Jacques Ranciere ◽  
Politics Of Difference ◽  
Interdisciplinary Dialogue ◽  
Political Perspective ◽  
Politics Of Aesthetics ◽  
The Spectator ◽  
New Policies ◽  
Poetic Work

In an interdisciplinary dialogue, our goal is to observe how the poetic work of Alex Simões contributes to the redefinition of a type of poetry that aims at being political. A “politics of poetry” then takes shape in the footsteps of Jacques Rancière and his “politics of aesthetics”, taking political perspective as a critique of the present and a desire for transformation, from a relation to the real, a production of meaning and its own conception of the spectator. Based on queer-frontier references, the authors recognize a politics of poetry in its aesthetic dimension, in hybrid processes between politics of difference and aesthetics, which serve as new policies of subjectivation.

scholarly journals Silent waves: On silence, Singapore, and Jacques Rancière

2017 ◽  
Vol 2 (2) ◽  
pp. 310
Author(s):  
Felipe Cervera
Keyword(s):  
Speaking Up ◽  
The Real ◽  
Jacques Ranciere ◽  
Jacques Rancière ◽  
The Spectator ◽  
City State ◽  
The City ◽  
The Voice

This article stages the silent adventure of watching theatre about Singapore Malays and reading Jacques Rancière in Singapore. The argument blurs the real and the fictional, the voice of the author with the voice of the spectator, Rancière’s voice with the silence of Maya Raisha, a Malay-Muslim girl.  In doing so, the piece seeks to evidence that as a consequence of the regulatory nature of performance in Singapore, more than creating a moment of disruption against the normative sphere, silence evidences the instrumentality that ‘speaking up’ has in the normativity of the city-state. The piece is written as the performative chronicle of an intellectual adventure that took place between 2012 and 2013, when alongside reading Rancière’s work in detail, the author moved to Singapore and watched Teater Ekamatra’s Not Counted (2012) and The Necessary Stage’s Best Of (2012-3).

scholarly journals Are magicians specialists at identifying deceptive motion? The role of expertise in being fooled by sleight of hand.

2021 ◽  
Author(s):  
Elias Garcia-Pelegrin ◽  
Clive Wilkins ◽  
Nicola Clayton
Keyword(s):  
The Other ◽  
Diverse Range ◽  
The Real ◽  
The Spectator ◽  
Attention And Perception ◽  
Inherent Ambiguity ◽  
Blind Spots

Abstract The use of magic effects to investigate the blind spots in the attention and perception and roadblocks in the cognition of the spectator has yielded thought-provoking results elucidating how these techniques operate. However, little is known about the interplay between experience practising magic and being deceived by magic effects. In this study, we performed two common sleight of hand effects and their real transfer counterparts to non-magicians, and to magicians with a diverse range of experience practising magic. Although, as a group, magicians identified the sleights of hand as deceptive actions significantly more than non-magicians; this ability was only evidenced in magicians with more than 5 years in the craft. However, unlike the rest of the participants, experienced magicians had difficulty correctly pinpointing the location of the coin in one of the real transfers presented. We hypothesise that this might be due to the inherent ambiguity of this transfer, in which, contrary to the other real transfer performed, no clear perceptive clue is given about the location of the coin. We suggest that extensive time practising magic might have primed experienced magicians to anticipate foul play when observing ambiguous movements, even when the actions observed are genuine.

Fictions of the Real

2018 ◽  
Author(s):  
Nilo Couret
Keyword(s):  
Monetary Policy ◽  
Golden Age ◽  
The Real ◽  
Academic Literature ◽  
Musical Comedy ◽  
Evaluative Criteria ◽  
Brazilian Cinema ◽  
Present Tense ◽  
The Spectator ◽  
Currency Conversion

The Brazilian chanchada, or musical comedy, is a popular genre from the golden age of Brazilian cinema with a substantial Portuguese-language academic literature. Instead of retreading these ontogenetic arguments, this chapter argues the transition from musicarnavalesco to chanchada in light of the Estado Novo implementation of centralized monetary policy and the currency conversion to the Cruzeiro. As money (ex)changes, there is less agreement on evaluative criteria, auguring a crisis of valuation that subtends debates around the value of the genre. Making film a better commodity in an economy of desmedida undergoing a crisis of value presents challenges at levels material (currency restrictions shaped the development of the industry) and aesthetic (money as a form of economic symbolization coincides with the rise of fictionality). Classicism is mocked once more, now discussed in relation to the rise of fictionality rather than the codification of the classical realist text. The chanchada designates a certain intensification of fictionality where we actively feel the tension between the narrativized diegesis, the singularity of the comedic effect, and the present tense of the spectator.

The Transkei: International Decolonization

Worldview ◽  
1964 ◽  
Vol 7 (6) ◽  
pp. 7-11
Author(s):  
Thomas Molnar
Keyword(s):  
South Africa ◽  
Western World ◽  
Real Situation ◽  
The Real ◽  
African Black ◽  
Break Up ◽  
Black Man ◽  
The Spectator

In Sponono, Alan Paton's recent play, a message spelled out somewhat clumsily in the last act leaves the spectator breathless. The message is addressed by the African black man to the African white man: “You are responsible for us,” it tells him; “you are, whether you like it or not, your brother's keeper. You must help and admonish us, but you must also endlessly forgive because we are bound together for better or for worse.” This may be defective logic but it is realistic psychology. Those of us in the Western world who imagined that tomorrow or next year the Union of South Africa may break up in the fire of a revolution, or change radically its raciallegal structure know little about the real situation and its extraordinary complexity.

Hybridising Knowledge: Some Considerations on the Epistemology of Contamination in the Works of Deleuze and Serres and Its Reception in Bio Art

2020 ◽  
Vol 14 (2) ◽  
pp. 299-318
Author(s):  
Amanda Núñez García
Keyword(s):  
Gilles Deleuze ◽  
Felix Guattari ◽  
Bruno Latour ◽  
Contemporary Culture ◽  
Deleuze And Guattari ◽  
The Real ◽  
Hybrid Processes ◽  
Michel Serres ◽  
Interdisciplinary Nature ◽  
Creative Production

In this article I investigate the necessarily interdisciplinary nature of our contemporaneity, from the perspective of works by Gilles Deleuze, Félix Guattari, Bruno Latour and Michel Serres. While we often find that academia, society and governments push us towards interdisciplinarity, it is also true that those same institutions and powers (and therefore the epistemological systems on which they are based), distance us from that purpose. Opposing this aporetic situation we come up against the Deleuzian concept of ‘contamination’, or the well-known ‘science of Venus’ concept of Michel Serres. In doing so, we attempt ‘to put the tracing back on the map’, as Deleuze and Guattari suggest, and try to see the epistemological becomings that we find in contemporary culture. The main indicators which we use to study these contaminations and hybridisations are cinema and Bio Art. In both cases we observe that the real creative production is closer to ‘contamination’ than to the ‘purification’ and deletion of metabolic and hybrid processes criticised by Bruno Latour.

scholarly journals MORDVA - SUPRA-ETHNOS; MOKSHA, ERZYA - SUB-ETHNOSES? (Experience of interdisciplinary dialogue)

2021 ◽  
Vol 31 (6) ◽  
pp. 1151-1158
Author(s):  
G.E. Kornilov
Keyword(s):  
Historical Linguistics ◽  
Northeastern Russia ◽  
Political Dimension ◽  
The Real ◽  
Interdisciplinary Dialogue

The prominent Mordovian historian-ethnologist N.F. Mokshin chronologically and consistently presented information about Mordovians, Moksha and Erzya in the mass-political publication "Mordovia through the eyes of foreign and Russian travelers". This information was taken from Iordan, Konstantin Bagryanorodnyj, Rubruk, Joseph, Strabo, Ptolemy Claudius, Abu Ishaq al'-Farisi al' Istakhri, Abu Zayd al-Balkhi, Ibn-Haukal', Julian, H. Fren, P.S. Savel'ev, A.Ya. Garkavi; “The Tale of Bygone Years” (Povest Vremennykh let), V.N. Tatishchev, P.I. Rychkov, P.S. Pallas, Johann-Gottlieb Georgi and others recent and modern historians and ethnologists. In the proposed publication, a comparativist, a specialist in comparative historical linguistics, gives consistent comments to those presented by N.F. Mokshin's views, assumptions and conclusions of travelers, geographers, historians, ethnologists, among whom there was not a single professional linguist. In particular, there are doubts about the rapprochement of the modern ethnonym Erzya with exoethnonyms: Aors (Strabo), Arsiites (Ptolemy Claudius), Aris (Joseph), which are offered other explanations. It is clarified that Artania, as one of the three names of the Eastern Slavs (Rus, Slavia, Artania) mentioned by K. Bagryanorodnyj, should be read [Art̠āniya] in the Latin transliteration of the Arabic original. [Arsaija / Ersanija] readings are distorted; therefore, the archetype of the modern ethnonym Erzya is erroneous. The idea is that the urbanonym ‘Art(a)’ and the name of the country Artania both have a Turkic-Bulgarian origin and the real basis ‘Art’ (“back”; “backside”; “north”, etc.), being the equivalent of the ancient name of northeastern Russia - Zales’e, which had not only a geographical, but political dimension.

Mass scenes as a way of manipulating the consciousness of the viewer

2019 ◽  
Vol 11 (1) ◽  
pp. 64-72
Author(s):  
Anastasiya S. Arysheva
Keyword(s):  
Psychological Characteristics ◽  
The Real ◽  
Film Editing ◽  
Sergei Eisenstein ◽  
The People ◽  
History Of ◽  
The Creation ◽  
New Vision ◽  
The Spectator ◽  
Growing Mass

The essay explores the significance of mass scenes in the history of cinema. It analyzes the directorial style of Sergei Eisenstein and his concept that the human mass becomes observable only with the invention of cinema. The image of the mass is created by the editing. Long shots transform the real human mass into an infinitely growing mass, while close-ups destroy its image. Film editing involves the audience in the creation of the mass: each foreshortening offers a new vision of the people united in the mass. Mass scenes of the film allow the spectator to become infected with the ideas of the mass and to experience the increase in emotions inherent in a crowd. The film appeals to the spectator whose properties are predetermined. The spectator agrees to the viewing conditions dictated by the film and dissolves in the spectacle. The full involvement of the spectator in what he sees on the film screen is the main feature of cinema. Therefore, the manipulation of the spectators consciousness during the film screening is inevitable. Due to the psychological characteristics of their perception, mass scenes are one of the most powerful ways to control the spectator's emotional and intellectual reactions.

Metaphorical and metonymical equality: From a rhetoric of society to an aesthetics of politics

Maska ◽  
2017 ◽  
Vol 32 (185) ◽  
pp. 52-58
Author(s):  
Rok Benčin
Keyword(s):  
Political Theory ◽  
Jacques Ranciere ◽  
Rhetorical Figures ◽  
Politics Of Aesthetics ◽  
Jacques Rancière ◽  
Metaphor And Metonymy

The notion of the division of the sensible allows Jacques Rancière to suspend and redraw the lines between the politics of aesthetics and the aesthetics of politics, as well as between forms of political and aesthetic equality. The essay discusses Rancière’s work from a different angle, namely the distinction of two rhetorical figures, metaphor and metonymy, following Ernesto Laclau’s use of Gérard Genette’s reading of Proust as a model for his political theory. Outlining Rancière’s own use of the two figures as political models as well as his readings of Proust, the essay traces the differences between the rhetoric of society (Laclau) and the aesthetics of politics (Rancière).

scholarly journals Demise and Ascent

2011 ◽  
Vol 1 (4) ◽  
pp. 20-25
Author(s):  
Todd Holmes
Keyword(s):  
Republican Party ◽  
Ronald Reagan ◽  
The Political ◽  
Right Wing ◽  
Primary Research ◽  
The Real ◽  
Political Perspective ◽  
Real Change ◽  
The 1960S

This essay examines California Republican Senator Thomas Kuchel in honor of his 101 birthday this August, tracing Kuchel's fight against the conservative Right during the 1960s. More specifically, the essay highlights Kuchel as the last vestige of California's progressive Republicans and his effort to protect the GOP from right-wing corrosion and the likes of Nixon, Goldwater, George Murphy, and especially Ronald Reagan. Ultimately it was this effort that united the corporate conservatives of Reaganism to oust the 32 year political veteran in 1968. Based on periodicals and primary research conducted in the political papers of Thomas Kuchel, Barry Goldwater, and Alan Cranston, the essay posits that remembering Kuchel will push us to reflect on the real change of the Republican Party under Reaganism, both nationally and in California. With no biographies written and his own centennial overshadowed by the political pageantry of Reagan's, remembering Thomas Kuchel offers an important and much needed political perspective.

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