scholarly journals Buoying corpses up: A journey between Sunset Blvd. (1950) and Twin Peaks (1990-2017)

2019 ◽  
Vol 7 (13) ◽  
pp. 55-66
Author(s):  
Daniel Pérez-Pamies ◽  
Marta Lopera-Mármol
Keyword(s):  
Specific Model ◽  
The Body ◽  
David Lynch ◽  
Television Series ◽  
Life And Death ◽  
The Past ◽  
Twin Peaks ◽  
Billy Wilder ◽  
The Future ◽  
Similarities And Differences

This article uses a comparative and hermeneutical analysis to explore the similarities and differences between the cinematographic work of Billy Wilder,in particular, Sunset Blvd. (1950), and David Lynch and the well-known television series Twin Peaks (David Lynch & Mark Frost, CBS, 1990-1991), as well as itswidely-expected continuation: Twin Peaks: The Return (David Lynch & Mark Frost, Showtime, 2017), paying special attention to the representation of the corpse both in narrative and historical terms. The hypothesis of the authors is that the figuration of the dead contains and symbolizes a specific model of representation at the same time as it anticipates the appearance of a new one. In conclusion, the body in suspension, located in the gap between life and death, functions as a hinge between the past and the future.

scholarly journals “Back to the future”: Socio-technical imaginaries in 50 years of school digitalization curriculum reforms

Seminar.net ◽  
2020 ◽  
Vol 16 (2) ◽  
pp. 20
Author(s):  
Annika Bergviken Rensfeldt ◽  
Catarina Player-Koro
Keyword(s):  
Curriculum Content ◽  
Central State ◽  
Technology Governance ◽  
The Past ◽  
The Future ◽  
Similarities And Differences ◽  
Knowledge Content ◽  
Curriculum Reforms ◽  
Swedish School

This paper examines major Swedish school digitalization curriculum reforms over the past 50 years by analyzing similarities and differences between the late 1960s, mid-1990s, and early 2010s curricular reforms. By drawing on Jasanoff’s (2015) socio-technical imaginary concept, we examine how digitalization reforms are constituted discursively and materially in struggles over curricular knowledge content, preferred citizenship roles, and infrastructural investments and especially by relating curricular reforms to governance transformations. One recurrent strategy of reform is what we call the back to the future argument, where curricula address an ideal citizenship of future societies, politically used to support change. We suggest that in the more than 50 years of school digitalization issues, it has been surrounded by strong and shifting struggles over the curriculum content and governance transformations. This pendulum movement (Englund, 2012) has taken place partly through central, state-led or new monopolized technology governance and infrastructures and partly through decentralized forms of governing (e.g., in municipal contexts and via IT-supported networks).

scholarly journals Kristi Genkomst og kødets opstandelse. Det eskatogiske hos Grundtvig

1950 ◽  
Vol 3 (1) ◽  
pp. 7-56
Author(s):  
C. I. Scharling
Keyword(s):  
Human Life ◽  
Kingdom Of God ◽  
The Body ◽  
Essential Point ◽  
Life And Death ◽  
The Future ◽  
To Come ◽  
Personal Understanding ◽  
The Church ◽  
Second Coming

The Second Coming of Christ and the Resurrection of the Body. Grundtvigs Eschatology. By C. I. Scharling. This essay shows how Grundtvig, in contrast to his contemporaries in the Church, laid great stress upon the eschatological hope of the future. He may have been partly inspired by Scandinavian mythology (the myth of Ragnarok) and partly by Schellings theories about the great drama of existence (the coming forth of ideas from the Absolute and their returning thither). But the essential point is that the eschatological hope grew forth naturally from his personal understanding of life and death, of the meaning and object of human life, and from his faith in the living, risen Christ as Lord and victor over the powers of darkness and death. It is remarkable that while after 1825 Grundtvig lived with such intensity in the experience of the realisation of the Kingdom of God here and now in the Church’s fellowship with the risen, present Saviour, at the same time, both in his hymns and in his preaching, he gives such powerful expression to the eschatological hope of the future. The author finds the explanation of this in the fact that for Grundtvig (unlike many others) it was not the need and distress of the time that gave life to the Biblical promises of the Second Coming of Christ and the setting*up of the Kingdom of Glory at the Last Day, but his very joy in God’s great Salvation, experienced in the Church. Thus the peculiar thing about Grundtvig’s eschatological expectation is that the tidings of the Second Coming of the Lord are for him an evangel in the full sense of the word; his feelings about the Last Day are far removed from the feeling of fear and horror which meets us in many of the mediaeval frescoes of the Lord’s Return to Judgment or in the old hymn, “Dies irae, dies ilia”. Characteristic of him, too, is his stress on the contin uity between the present world, which came into being at the Creation, and the world to come; the old world shall not be destroyed, but reborn and transfigured; its for this reason that he lays so much stress on faith in the resurrection of the body. On the other hand the author rejects the theory put forward by the Norwegian writer, Paulus Svendsen, that Grundtvig was a Chiliast and “believed in an external, perfect Kingdom of God on earth” ; he refutes it by reference to the fact that Grundtvig explicitly rejected Edward Irving’s conception of the millennium.

Temporality

2015 ◽  
Author(s):  
Bonnie G. Smith
Keyword(s):  
The Body ◽  
Postmodern Theory ◽  
Feminist History ◽  
The Past ◽  
New Approaches ◽  
The Future

Time or temporality is a concept by which humans confront the experience of duration. Feminists across the globe have constructed theories, political programs, and fantasies based on an awareness of temporality, usually as a tool to confront long-standing myths, inequality, and oppression. Feminist history is especially concerned with temporality, but so are activists who invoke the conditions of women in the past and present that must be remedied in the future. Temporality is embedded in discourses of the body and sexuality, and in this respect, women are seen as especially time bound. Postmodern theory has provided feminism with new approaches to time—many of them seeking to confound what can be called ordinary restrictions on time and to overturn time’s seeming limitations. Nonetheless, temporality exists only in language that is already gendered, seeming to set limits to a revolt against time.

scholarly journals Expansion, Excess and the Uncanny: Deadly Premonition and Twin Peaks

Arts ◽  
2018 ◽  
Vol 7 (3) ◽  
pp. 49 ◽  
Author(s):  
Julian Novitz
Keyword(s):  
Emotional Responses ◽  
Central Element ◽  
Soap Operas ◽  
David Lynch ◽  
Television Series ◽  
Twin Peaks ◽  
The Uncanny ◽  
Wide Range ◽  
Cult Television

The influence of the cult television series Twin Peaks (1990–1991) can be detected in a wide range of videogames, from adventure, to roleplaying to survival horror titles. While many games variously draw upon the narrative, setting and imagery of the series for inspiration, certain elements of the distinctive uncanniness of Twin Peaks are difficult to translate into gameplay, particularly its ability consistently disrupt the expectations and emotional responses of its audience. This paper examines the ways in which the 2010 survival horror title Deadly Premonition replicates the uncanniness of Twin Peaks in both its narrative and gameplay, noting how it expands upon conceptualizations of the gamerly uncanny. It contends that Deadly Premonition’s awkward recombination of seemingly inconsistent and excessive gameplay features mirrors the ways in which David Lynch and Mark Frost draw upon and subvert audience expectations for police procedurals and soap operas in the original Twin Peaks in order to generate an uncanny effect. Furthermore, Deadly Premonition uses the theme of possession—a central element of the television series—to offer a diegetic exploration of the uncanny relationship between the player and their onscreen avatar. In these regards, Deadly Premonition provides a rare example of how the subversive uncanniness of Twin Peaks can be addressed through gameplay, rather than solely through the game’s narrative or representational elements.

Cervantine Criticism since 2000 and into the Future

2021 ◽  
pp. 647-680
Author(s):  
Bruce R. Burningham
Keyword(s):  
Golden Age ◽  
The Body ◽  
The Novel ◽  
The Past ◽  
The Future ◽  
Current Century ◽  
Critical Perspectives ◽  
The Way

The past two decades have seen an explosion in Cervantes scholarship. Indeed, it would perhaps not be an exaggeration to suggest that the last twenty years arguably represent the Golden Age of Cervantes criticism: slightly more than half of scholarly works written since 1888 have been published during the last two decades. In other words, during the last twenty years, the body of Cervantes knowledge has more than doubled, greatly expanding our variety of critical perspectives along the way. This chapter discusses the ‘across the centuries’ trend resulting from the various anniversary celebrations related to Cervantes, the ‘Cervantes and the Americas’ collections, Cervantes’s treatment of Islam, and the modernity of the novel, among other trends that have expanded Cervantine criticism since the turn of the current century.

Exorbitant Dust

2021 ◽  
Vol 27 (3) ◽  
pp. 357-377
Author(s):  
Christina A. León
Keyword(s):  
New York ◽  
Short Stories ◽  
Particulate Matter ◽  
Puerto Rican ◽  
Life And Death ◽  
The Past ◽  
The Future ◽  
Manuel Ramos Otero ◽  
Eventual Death

Abstract This article traces the figure of polvo (dust) across the writing career of Puerto Rican and New York writer Manuel Ramos Otero. Polvo heralds the macabre sensuality of his early short stories, long before his diagnosis with HIV, and persists and morphs through his later essays and poetry up until his eventual death in 1990 from AIDS complications. Writing defiantly as a queer, a feminist, a Puerto Rican, and a sidoso, he produced work that invites death and desire to commingle through a figuration of dust, as a scattered substance that covers skin, coats translation, and dirties conventional genres. Polvo illuminates the dimensions and risks of relation as a particulate matter that exposes our porosity—clinging and hovering in the space between bodies, between the past and the future, between life and death. As the dust settles in the wake of Hurricane María, so too can polvo be read as prescient for how coloniality lingers as enduring conditions of debility and precarity. Ramos Otero's affinity for finitude, figured through polvo, counterintuitively conjures a relational desire that privileges the porous, the marginal, and the always precarious possibility of survival. Polvo moves across the different genres and phases of Ramos Otero's work as a matter that refuses to disentangle the material realities of queerness and coloniality.

Women Entrepreneurs: A Research Overview

2009 ◽  
Author(s):  
Candida G. Brush
Keyword(s):  
Women Entrepreneurs ◽  
Job Creation ◽  
Future Research ◽  
Research Directions ◽  
Men And Women ◽  
The Past ◽  
The World ◽  
The Future ◽  
Future Research Directions ◽  
Similarities And Differences

Despite the proliferation of research, the population of women entrepreneurs is vastly understudied. This is surprising considering women are one of the fastest rising populations of entrepreneurs, and contribute significantly to innovation, job creation, and economies around the world. Why are women entrepreneurs comparatively understudied? What have we learned about women entrepreneurs in the past few decades? What are the future research directions? This article addresses these questions. It begins with a brief overview on the extent of research on women's entrepreneurship and considers reasons why they are under-studied. The article also explores empirical findings in terms of similarities and differences between men and women entrepreneurs, then it concludes with suggestions for future research.

De Profundus: Adumbrative Reflections?

Leonardo ◽  
2000 ◽  
Vol 33 (3) ◽  
pp. 237-238
Author(s):  
Richard Kade
Keyword(s):  
Fine Art ◽  
The Body ◽  
The Past ◽  
Flat Sheet ◽  
The Future ◽  
Field Of Inquiry

Leonardo was a man who designed war engines. He also anatomized, stripped The flesh from the body And saw the soul; made perspective From a flat sheet flex Round as a moving limb. Transmuted the past to the future In a credible flying device. He inspired a journal's creation over four centuries later; A journal of fine art that grips The same universe as Leonardo And fills it with vigor. That covers the whole field of inquiry made possible with Modern scientific techniques. The art is new. The journal is Leonardo. Subscription is a solid chunk of man's future.

scholarly journals Conceptual sounding of poems in the prose “Herds” by F. Aliyeva and “The Old Woman” by I. Turgenev

2020 ◽  
pp. 51-58
Author(s):  
Mariza Magomedova ◽  
Maryam Saidovna Suleimanova ◽  
Zaynab Salmanovna Omarova
Keyword(s):  
Prose Poem ◽  
Life And Death ◽  
The Past ◽  
The Future ◽  
Flow Of Time ◽  
The Subject ◽  
Artistic Images ◽  
Past Experiences ◽  
Time Description

This article attempts to determine the attributes of the prose poem genre in the works “Herds” by Fazu Aliyeva and “The Old Woman” by Ivan Turgenev on the formal and emotional-semantic levels. Artistic parallels in creation of images by the authors of different generations are drawn. The subject of this research is the images of time, old woman and cliff and intertwinement of their destinies into a single time node. The object of this research is the lyrical narratives “Herds” by Fazu Aliyeva, “The Old Woman” and “How Fair, How Fresh Were the Roses…” by Ivan Turgenev. Special attention is given to analysis of the form and content of artistic images in “Herds”, in the context of prose poem “The Old Woman” by I. S. Turgenev, their conceptual and artistic peculiarities. The author also highlights the category of timely space in the narratives. The novelty of this research consists in drawing an artistic parallel between the lyrical narratives of Fazu Aliyeva and Ivan Turgenev regarding determination of the dominant and conceptual differences in creation of the image of time, description of the flow of time, connection between the past and the future, and interpretation of the theme of life and death. As a result, the identification of poetic beginning, philosophical comprehension and artistic presentation of the topic of life and death in the works of F. Aliyeva and I. Turgenev allows, upon similarity of sounding, tracing conceptual differences of the author's thought. Despite obvious similarity of underlying ideas, the aforementioned topic is described differently. In the works of F. Aliyeva, time is not confined, looks into the future, resembling in the succession of generations; with all the pain and losses, the image is life-affirming. In the works of I. Turgenev, the hero turns to the past, experiences the ultimate fear of death, everything stops in anticipation of the end of existence.

scholarly journals Tempos do passado e tempos do futuro em confronto: diferenças e paralelismos

2021 ◽  
pp. 105-120
Author(s):  
Luís Filipe Cunha
Keyword(s):  
Common Property ◽  
The Past ◽  
European Portuguese ◽  
Speech Time ◽  
The Future ◽  
Final Interpretation ◽  
Temporal Boundary ◽  
The Common ◽  
Similarities And Differences ◽  
Past Tenses

This paper deals with the main similarities and differences that arise between past and future tenses. In particular, we argue that, while the propositions associated with past tenses are completely settled and their truth-value can be evaluated at the speech time, the propositions described by future tenses cannot be seen as true or false at the utterance time since these linguistic forms are ramifying, in that they typically point to a variety of inertia histories or inertia worlds. Nevertheless, if we consider more closely some particular tenses in European Portuguese – namely the Pretérito Imperfeito (Imperfect) and the Pretérito Perfeito do Indicativo (simple past), as representatives of the past tenses, and the Futuro Simples (simple future) and the structure ir (‘go’) + Infinitive, as representatives of the future ones, we conclude that there are also some important parallels across the two temporal domains. We claim that both the Imperfeito and the Futuro Simples merely locate the situations in a past or future interval, respectively, and that the final interpretation of the sentences in which they occur is the result of the interaction of their temporal characteristics with aspectual and modal features. The Pretérito Perfeito and the structure ir (‘go’) + Infinitive, on the other hand, share the common property of imposing an additional temporal boundary beyond which the eventualities cannot take place; as a result, aspectual effects and modal readings are much more conditioned and pure temporal interpretations – both in the past and in the future – become greatly predominant.

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