scholarly journals Salvador Dalí, i ritratti ibridi degli anni Venti

Author(s):  
Elide Pittarello

The life and artworks of Salvador Dalí (1904-1989) are closely interconnected and thoroughly documented. Returning to the hybrid portraits painted by the young artist in the 1920s gives us, on the one hand, the chance to recall a phase in his maturing process which, with few exceptions, is often undervalued by art historians and curators, especially those who are not Spanish. On the other, it can allow us to reaffirm Federico García Lorca’s crucial role in their conception and iconic execution between 1925 and 1927. After the influence of the painter Rafael Barradas from Uruguay, Dalí chose the authoritative model of Picasso, the undisputed master. Encouraged by Luis Buñuel, who had moved to Paris, Dalí visited Picasso in 1926. After that meeting he started to paint multiple heads and self-portraits which include García Lorca’s silhouette. As to avant-garde arts and their porous boundaries, the friendship uniting García Lorca, Buñuel and Dalí was fructuous from the time when they lived at the Residencia de Estudiantes in Madrid. In this institution, open to the most original innovations of European culture, certain aesthetic motives emerged which each developed in his own inimitable way: the subject as a mask, the self being the other, the body reduced into pieces of anatomy, putrefied remains, aberrant mix of organic and inorganic stuff.

2005 ◽  
Vol 15 (2) ◽  
pp. 55-72
Author(s):  
Håkan Larsson

Håkan Larsson: Sport and gender This article concerns bodily materialisation as it occurs in youth sport. It is based on interviews with teenagers 16 to 19 years of age doing track and field athletics. The purpose of the article is to elucidate how the notion of a “natural body“ can be seen as a cultural effect of sports practice and sports discourse. On the one hand, the body is materialised as a performing body, and on the other as a beautiful body. The “performing body“ is a single-sexed biological entity. The “beautiful body“ is a double-sexed and distinctly heterosexually appealing body. As these bodies collide in teenager track and field, the female body materialises as a problematic body, a body that is at the same time the subject of the girl’s personality. The male body materialises as an unproblematic body, a body that is the object of the boy’s personality. However, the body as “(a problematic) subject“ or as “(an unproblematic) object“ is not in itself a gendered body. Rather, these are positions on a cultural grid of power-knowledge relations. A girl might position herself in a male discourse, and a boy might position himself in a female discourse, but in doing so, they seem to have to pay a certain price in order not to be seen as queer.


2021 ◽  
Vol 27 ◽  
pp. 467-479
Author(s):  
Oskar Meller

Cultural texts on the subject of posthuman can be found long before the post-anthropocentric turn in humanistic research. Literary explanations of posthumanism have entered the conventional canon not only in terms of the science-fiction classics. However, a different line follows the tradition of presenting posthumanist existence in the comic book medium. Scott Jeffrey accurately notes that most comic superheroes are post- or trans-human. Therefore, the transgression of human existence into a posthumanoid being is presented. However, in the case of the less culturally recognizable character of Vision, a synthezoid from the Marvel’s Avengers team, combining the body of the android and human consciousness, the vector of transgression is reversed. This article is an attempt to analyze the way the humanization process of this hero is narrative in the Vision series of screenwriter Tom King and cartoonist Gabriel Hernandez Walta. On the one hand, King mimetic reproduces the sociological panorama of American suburbs, showing the process of adaptation of the synthesoid family to the realities of full-time work and neighborly intercourse, on the other, he emphasizes the robotic limits of Vision humanization. Ultimately, the narrative line follows the cracks between these two plans, allowing King to present, with the help of inhuman heroes, one of the most human stories in the Marvel superhero universe.


2021 ◽  
Vol 258 ◽  
pp. 07033
Author(s):  
Vladimir N. Panferov ◽  
Svetlana A. Bezgodova ◽  
Anastasia V. Miklyaeva

The article presents the results of studying the personal maturity of adolescents aged 13-17 (n=1078) who are infantilized in intergenerational relationships (on the model of relations with parents and teachers). Empirical data were collected with the use of the Self-Assessment Scale of Personal Maturity, as well as the modified Dembo-Rubinstein Self-Assessment Diagnostic Method, which measured the actual self-assessment of adolescents’ adulthood, as well as reflected assessments of their own adulthood from the parents’ and teachers’ positions. Infantilization in intergenerational relationships was assessed by comparing the self-assessment of adulthood and the reflected assessments of parents and teachers. The results show that the relationships between adolescents, on the one hand, and parents and teachers, on the other hand, are characterized by a tendency to infantilization. Obvious infantilization is found in about 10 % of cases. Infantilization in intergenerational relationships affects, first of all, the regulatory maturity of adolescents, and its influence differs depending on who is the subject of infantilization: in the case of infantilization by parents, the regulatory maturity of adolescents decreases as they grow up, while in the case of infantilization by teachers it increases. In general, infantilization in relations with parents has more intense negative impact on the formation of personal maturity in adolescence, in comparison with infantilization on the part of teachers.


Author(s):  
Svetlana Vladimirovna Petrushikhina

The subject of this research is the theoretical works of Bernard Tschumi. The goal is to determine the place of the problem of corporeal experience in the theory of architecture of developed by the Swiss architect. For achieving the set goal, the author examines the key themes of his works –  the question of boundaries and limits of architecture, architecture as the place of occurrence of the event; as well as a number of concepts – “pleasure”, “limits”, “violence”. The texts created by Bernard Tschumi over the period from 1977 to 1981: “The Pleasure of Architecture” (1977), the article “Violence of Architecture” (1981), and a series of essays “Architecture and Limits” (1980–1981) served as the sources for this analysis. B. Tschumi did not dedicate works to the problem of corporeal experience alone; however, addresses this problem in the context of interaction between the audience and the building. His attention is focused on the viewer’s sensory experiences emerging in direct contact with the architectural object. On the one hand, this apposes B. Tschumi with the representatives of the phenomenology of architecture – S. Hall and J. Pallasmaa; all of them emphasizes the kinesthetic, nonverbal nature of corporeal experience in the perception of structures, their internal space and materials. On the other hand, B. Tschumi describes the relations between the body and the building as violent. Violence in the relations between man and architecture is ubiquitous: it is the interference of of a person into the architectural space, as well as feeling of discomfort provoked by the architectural space.


PEDIATRICS ◽  
1975 ◽  
Vol 55 (1) ◽  
pp. 82-82
Author(s):  
T. E. C.

Although Francis Glisson (1597-1677) was not the first to describe rickets, nevertheless, his treatise on rickets (1650) is generally regarded as the most important work which has yet appeared on the subject.1 A sample of Glisson's method of treating rickets follows: To straighten the trunk of the body or to keep it straight, they use to make breast plates of whalebone put into two woollen cloths and sewed together, which they so fit to the bodies of the children that they may keep the back-bone upright, repress the sticking out of the bones, and defend the crookedness of them from a further compression. But you must be careful that they be not troublesome to the children that wear them, and therefore the best way is to fasten them to the spine of the back with a handsom [sic] string fitted to that use. The bearing them about in the nurses arms is almost agreeable to the same children, and under the same conditions; in like manner the rejoicing of the child whilst the nurse singeth, either as it sits in her lap, or is held up in her hands, as also the tossing of it up and down, and waving it to and fro. Also the drawing of the children backward and forward upon a bed or a table between the two nurses, the one holding it by the hand, the other by a foot. The two last notions seem to contribute somewhat to the erection of the crooked or bended backbone.


2012 ◽  
Vol 19 (1) ◽  
pp. 149-168
Author(s):  
Baljit Singh

The subject contemporary relevance of Nehru is unfolded into five sections. First section introduces the subject by contextualising Nehru’s ideas in the contemporary scenario. Nehruvian ideological system and its utility in the age of globalisation constitute the body of this article. His nationalism, socialism and world view are located and discussed in the second, third and fourth sections, respectively. Nehru’s idea of composite culture, contested by cultural nationalism from the one end and ethno-nationalism from the other end of spectrum comprises the second section. The third section discusses the conception, consolidation, retreat and revival of Nehruvian model of economic development in the light of Washington Consensus and Post-Washington Consensus. His idea of socialism and the mixed economy are debated in liberal, neoliberal and post-neoliberal scenario. His world view faced rough weather during the second and third phase of India’s foreign policy. The former was set in motion after his death, whereas the latter started taking shape in the Post-Soviet world, which has acquired the hegemonic overtones. Contemporary significance of Nehru’s world view in the hegemonic world is probed in the fourth section. The last section sums up the discussion in the form of concluding observations.


Plaridel ◽  
2017 ◽  
Vol 14 (2) ◽  
pp. 73-90
Author(s):  
Jaimee Faith J. Santos

The subject of my paper is the author. I aim to explore how the self-conscious author functions in Fish-Hair Woman (2012), a metafictional novel by Merlinda Bobis. I begin with a brief discussion of how the author is constructed, first, in Philippine literary criticism, and second, in light of the collapse of the humanist tradition of valorizing the writer, which prompted the proclamation of the author’s “death” and rendered her irrelevant to the text and to criticism. But does the author stay dead? In metafiction, in particular, the author manages to “write” herself into the text using self-consciousness. I find that, while it is impossible to overlook the author’s decentered status, it is equally untenable to ignore how an overt “manifestation” of the author functions within the text. Through my reading of Fish-Hair Woman, I attempt to examine how the author’s self-consciousness results in two seemingly contradicting implications. On the one hand, the author’s constant references to herself allows her to “live” through the text, reinforcing the Barthesian notion that the author limits the text and its possible interpretations. On the other hand, the author’s constant references to herself as a subject exposes the author’s own limitations. This, in turn, “re-opens” the text, by giving room to questions about other perspectives that are not or cannot be represented in the text.


2021 ◽  
pp. 101-123
Author(s):  
Daniel Juan Gil

Henry Vaughan asserts an understanding of resurrection as essentially and fundamentally about the body, and he understands resurrection to be “immanent” in the sense that signs of resurrection can already now be seen breaking into the here and now. Vaughan’s goal in his poetry is to uncover “Traces, and sounds of a strange kind,” as he puts it in “Vanity of Spirit.” Vaughan’s searching analysis of himself splits his bodily life into two: on the one hand, a socialized and historicized life and, on the other hand, a life that, in its material strangeness, is alien to his time and place and therefore the substrate of resurrection. At the same time, Vaughan is also interested in investigating the material stuff of the natural world separate from the uses and meanings that human languages impose upon it. By mystical attention to material stuff, including feathers, rocks, rainbows, and trees, Vaughan believes he can discover a perspective that transcends historical time. In that sense, Vaughan anticipates the Romantic poets. His formal experimentation is designed to make his poetry a tool to investigate the material strangeness of the person. As such, he develops a distinctively avant-garde poetics as theorized by Peter Bürger.


2021 ◽  
Vol 34 (72) ◽  
pp. 1055-1076
Author(s):  
Pierre Guenancia

Descartes e a ideia de homem. Imperfeição e perfeição do homem Resumo: O autor nota, por um lado, que Descartes se refere a uma compreensão muito larga, mas também comum e corrente, do homem e, por outro, que o homem não pode ser identificado nem ao corpo, nem à alma, nem mesmo à união do corpo e da alma. Quando falamos da natureza humana, ela evoca o caráter de uma perfeição limitada, cuja particularidade é sua capacidade de ter o livre-arbítrio. A noção do homem enquanto sujeito de (não) perfeição é baseada sobre uma ideia que se define por uma relação à ideia do infinito sob a forma da aspiração a ser mais perfeito. O exercício do livre-arbítrio se articula concretamente a um esforço de atenção e de vigilância que permite evitar um juízo errôneo. A tese exposta se desenvolve, em seguida, em três tópicos. Primeiramente, a razão se apresenta como um instrumento universal do homem, que, por sua vez, aparece como ser polivalente que o utiliza, sendo capaz de se adaptar às situações as mais diversas. Em segundo lugar, a perfeição especificamente humana significará a capacidade de exercer a dúvida e de recorrer às suposições e probabilidades no plano cognitivo. Isso significa, entre outros, que, para a aquisição da perfeição, é preciso reconhecer a sua própria imperfeição. Enfim, em terceiro lugar, a capacidade de usar propriamente o livre-arbítrio conduz à definição de homem como generoso, em que o homem é compreendido no sentido moral mais que no metafísico. Palavras-chave: Homem; Perfeição; Finitude; Atenção ; Livre arbítrio; Generosidade. Descartes et l’idée de l’homme. Imperfection et perfection de l’homme. Résumé: L'auteur note que, d'une part, Descartes se réfère à une compréhension très large, mais aussi commune et courante de l'homme, et de l'autre que l'homme ne peut pas être identifié ni au corps, ni à l'âme, ni même à l'union du corps et de l'âme. Lorsqu’on parle de la nature humaine, elle porte le caractère d'une perfection limitée, dont la particularité est sa capacité d'avoir le libre arbitre. La notion de l'homme en tant que sujet de (non) perfection est basée sur une idée qui se définit par rapport à l'idée de l'infini sous la forme de l'aspiration à être plus parfait. L’exercice du libre arbitre se joint concrètement à un effort d'attention et de vigilance qui permet d’éviter un jugement erroné. La thèse ci-dessus se développe ensuite en trois points. Premièrement, la raison se présente comme un instrument universel de l'homme qui à son tour apparait comme être polyvalent l'utilisant et étant capable de s'adapter aux situations les plus diverses. Deuxièmement, la perfection spécifiquement humaine signifiera la capacité d’exercer le doute et de recourir aux suppositions et probabilités sur le plan cognitif. Cela signifie entre autres que pour l'acquisition de la perfection, il faut reconnaître sa propre imperfection. Enfin, troisièmement, la capacité d'user proprement le libre arbitre conduit à la définition de l'homme comme généreux, où l'homme est compris au sens moral plus que métaphysique. Mots clé: Homme; La Perfection; Finitude; Attention ; Libre arbitre ; La Générosité. Descartes and the idea of man. Imperfection and perfection of man Abstract: The author notes that, on the one hand, Descartes refers to a very broad, but also common and current understanding of man, and on the other that man cannot be identified nor with the body , neither to the soul, nor even to the union of body and soul. When we speak of human nature, it carries the character of a limited perfection, the particularity of which is the ability to have free will. The notion of man as the subject of (non) perfection is based on an idea which is defined in relation to the idea of ​​infinity in the form of the aspiration to be more perfect. The exercise of free will is joined concretely to an effort of attention and vigilance which makes it possible to avoid erroneous judgment. The thesis above then develops in three points. First, reason presents itself as a universal instrument of man who in turn appears to be versatile, using it and being able to adapt to the most diverse situations. Second, specifically human perfection will mean the ability to exercise doubt and use cognitive assumptions and probabilities. Among other things, this means that in order to acquire perfection, you have to recognize your own imperfection. Finally, thirdly, the ability to use free will properly leads to the definition of man as generous, where man is understood more in the moral sense than in the metaphysical sense. Keywords: Man; Perfection; Finitude; Attention ; Free will ; Generosity. Data de registro: 17/11/2020 Data de aceite: 30/12/2020  


Based on the issue of the genesis of subjectivity, the authors of the article turn to the Hegelian model, which captures the two-sided and fundamentally changeable nature of the relationship between subject and object. The article substantiates the idea that imagination, being considered outside of the context of psychologization or reduction of it only to the reproductive aspect, is a source of binary differences fundamental to philosophical thought. Following Hegel’s dialectical method, the authors note that the presence of the image already indicates the difference between the two dimensions of consciousness and knowledge. The image expresses the primary truth of substance and, at the same time, the way it is subjectively given. There is a differentiation of the subjective moment of Being with the realization of fantasy. All formations of Spirit are interpretations of the figurative series, primal scenes, the analog of which was studied by classical psychoanalysis. From this perspective, the genesis of such subjective modes as consciousness, self-consciousness and mind inevitably includes symbolization, interpretation of the "Self" images, cognizing, willing and acting in various situations and contexts. The study of the concepts developed by Hegel, Kennouche, Verene and Merleau-Ponty allows concluding about two arguments in favor of the fundamentality of imagination. This refers, on the one hand, to subjective imagination that generates meanings and the need for their interpretation and, on the other hand, to the initial form of synthesis, on the basis of which, the subject and object of cognition, formations of consciousness and types of knowledge characteristic of them are further distinguished. The image, being the first meeting of the concrete and universal, is capable of setting the plot of one or another form of subjectivity.


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