scholarly journals The ambivalence of colonial discourse: Waiting for the barbarians in the gaze of the other

2015 ◽  
Vol 63 (2) ◽  
pp. 383-394 ◽  
Author(s):  
Andrijana Anicic
Keyword(s):  
The Other ◽  
Colonial Discourse ◽  
The Gaze ◽  
Waiting For The Barbarians

Wacana Kolonial dalam Novel Max Havelaar: Sebuah Kajian Poskolonial

Metahumaniora ◽  
2017 ◽  
Vol 7 (3) ◽  
pp. 411
Author(s):  
Abu Bakar Ramadhan Muhamad
Keyword(s):  
Point Of View ◽  
The Other ◽  
The Novel ◽  
Colonial Discourse ◽  
The Impact ◽  
The Voice

AbstrakHegemoni kolonialisme dalam budaya poskolonial merupakan alasan penelitian inikemudian mengkaji wacana kolonial dalam novel Max Havellar (MH) khususnya dampakditimbulkannya. Dampak dimaksud adalah posisi keberpihakan pemikiran tersirat darikarya tersebut. Hasil pembahasan menunjukkan, secara temporal maupun permanen MHmenyuarakan ketidakadilan dalam kondisi-kondisi kolonial menyangkut penindasan sangpenjajah terhadap terjajah. Hanya saja, upaya mengatasnamakan atau mewakili suarakaum terjajah terbukti mengimplikasikan ciri ideologis statis kerangka kolonialisme(orientalisme); yakni cara pandang Eropasentris, di mana “Barat” sebagai self adalah superior,dan “Timur” sebagai other adalah inferior. Dalam konteks poskolonialisme, MH dengan sifatkritisnya yang berupaya “menyuarakan” nasib pribumi terjajah, justru menampilkan stigmapenguatan kolonialitas itu sendiri secara hegemonik. Artinya, “menyuarakan” nasib pribumidimaknai sebagai keberpihankan kolonial yang kontradiktif, di mana stigma penguatankolonialitas justru lebih terasa, ujung-ujungnya melanggengkan hegemoni kolonial. Tidakmembela yang terjajah, tetapi memperhalus cara kerja mesin kolonial.AbstractThe hegemony of colonialism in the culture of postcolonial society is the reason this studythen examines the colonial discourse in the novel Max Havellar (MH) in particular the impactit brings. The impact in question is the implied position of thought in the work. The resultsof the discussion show that, temporarily or permanently, MH voiced injustice in the colonialconditions regarding the oppression of the colonist against the colonized. However, the effort toname or represent the voice of the colonized has proven to imply a static ideological characterin the framework of colonialism (orientalism); ie Eropacentric point of view, in which “West” asself is superior, and “East” as the other is the inferior. In the context of postcolonialism, MH withits critical nature that seeks to “voice” the fate of the colonized natives, actually presents thestigma of strengthening coloniality itself hegemonicly. That is, “voicing” the fate of the pribumiis interpreted as a contradictory colonial flare, where the stigma of strengthening colonialityis more pronounced, which ultimately perpetuates the hegemony of colonialism. No longerdefending the colonized, but refining the workings of the colonial machinery.

BRIDGING THE ABYSS: VICTOR BASCH'S POLITICAL AND AESTHETIC MINDSET

2013 ◽  
Vol 10 (1) ◽  
pp. 87-107
Author(s):  
RAJESH HEYNICKX
Keyword(s):  
Psychological Theory ◽  
The Other ◽  
The Gaze ◽  
Political Reason ◽  
Political Position ◽  
Political Ideas ◽  
Jewish Art ◽  
Art Philosophy ◽  
Changing World

This essay cross-examines both the correlation and the disjunction between art philosophy and political reason in the thinking of the French Jewish art philosopher, Kant specialist and socialist politician Victor Basch (1863–1944). Two interwoven lines of questioning will be in play. One considers the extent to which Basch's theory of beauty, which was primarily grounded in a psychological theory of Einfühlung, was a corollary to his political ideas and practices. The other line of inquiry raises questions about how Basch's political position, namely his anti-facist defending of republican values, became influenced by his work on aesthetics. By answering both questions, this article challenges the traditional historiography of interwar aesthetics. The esaay shows how conceptual debates of aesthetics were not just sterile theoretical products, but to a large extent offered an apparatus to diagnose and orientate a rapidly changing world. Therefore this essay develops a reflection about the gaze needed to take in the complex historical situations from which aesthetic reflections grew, and which in turn they addressed.

The Interpretation of Stereo-Disparity Information: The Computation of Surface Orientation and Depth

Perception ◽  
1982 ◽  
Vol 11 (4) ◽  
pp. 387-407 ◽  
Author(s):  
John Mayhew
Keyword(s):  
Surface Orientation ◽  
The Other ◽  
Surface Patch ◽  
Viewing Distance ◽  
Horizontal Disparity ◽  
Planar Surface ◽  
Local Surface ◽  
Stereo Disparity ◽  
The Gaze ◽  
Perceptual Phenomenon

Two methods for interpreting disparity information are described. Neither requires extraretinal information to scale for distance: one method uses horizontal disparities to solve for the viewing distance, the other uses the vertical disparities. Method 1 requires the assumption that the disparities derive from a locally planar surface. Then from the horizontal disparities measured at four retinal locations the viewing distance and the equation of local surface ‘patch’ can be obtained. Method 2 does not need this assumption. The vertical disparities are first used to obtain the values of the gaze and viewing distance. These are then used to interpret the horizontal disparity information. An algorithm implementing the methods has been tested and is found to be subject to a perceptual phenomenon known as the ‘induced effect’.

Nina Simone as Poet and Orchestrator

2021 ◽  
Vol 33 (2) ◽  
pp. 130-147
Author(s):  
Marcus R. Pyle
Keyword(s):  
Semantic Content ◽  
Black Body ◽  
Black Female ◽  
The Self ◽  
The Other ◽  
Female Subjectivity ◽  
The Gaze ◽  
Nina Simone

How do you fashion an identity in a society that, at every turn, tries to snuff you out? In this article, I address Nina Simone's praxis of renaming and reinvention to demonstrate strategies of resistance. To this point, I analyze the musico-poetic setting of Nina Simone’s songs “Images” (1964) and “Four Women” (1965) to argue that her artistic musical choices sonically orchestrate varying issues of Black female subjectivity, identity, and self-making. In Simone’s songs, she refuses to discount the materiality of the Black body; instead, she envelops the Black body with signifiance and significance. The sonic bearers of semantic content become extensions of the Self—transmutable and heterodox. The compositional and poetic subtleties in these songs claim that the gaze of the Other can potentiate exteriority and freedom—what I term the “exo(p)tic.”

scholarly journals The Eye, the Brain, the Screen – What Neuroscience Can Teach Film Theory

2019 ◽  
Vol 1 (1) ◽  
pp. 1-16
Author(s):  
Paul Elliott
Keyword(s):  
Molecular Biology ◽  
Cultural Theory ◽  
Film Theory ◽  
Mirror Neuron ◽  
The Other ◽  
Perceptual Processing ◽  
Literary Texts ◽  
Cross Model ◽  
The Gaze ◽  
The Brain

“I don’t believe that linguistics and psychoanalysis offer a great deal to the cinema. On the contrary, the biology of the brain – molecular biology – does.” Gilles DeleuzeModels of the brain are inextricably linked to the surrounding cultural episteme: whether it is viewed as a complex clockwork device, a computer, a self-regulating network or even a cinema screen, our understanding of neurophysiology has always relied on discourses and images taken from other fields. In turn, however, our knowledge of cerebral processes (such as sight for instance) has always, inevitably, affected the way that we approach artworks, literary texts and cultural artefacts.Based on this, this paper looks at how recent neuroscientific research on vision and cognition can help us better understand the processes inherent in film theory. Focussing mainly on the recently discovered concept of the mirror neuron but also citing synaesthesia and limbic perceptual processing, I suggest that neuroscience can provide us with a fertile new ground for thinking about areas such as spectatorship and the facilitation of emotional affect, it can also offer us alternatives to monolithic ideas like the Gaze and the patriarchal nature of visual pleasure.Prompted perhaps by a shift in scopic thinking, some recent neuroscientific research has even mirrored film and cultural theory by foregrounding notions such embodiment, cross-model perception and mimesis, adding to the dialogic relationship that exists between these two disciplines. This paper then is not only concerned with how different fields communicate but with how each can provide models, metaphors and frameworks for the other.

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