La narrazione della metropoli: Baudelaire, Simmel, Benjamin

2012 ◽  
pp. 76-84
Author(s):  
Valeria Giordano

The words of modern narrators help bring to surface the contradictions and conflicts typical of the metropolis, transforming it into a sort of cultural instrument that reads the different languages, images and forms of life that it is defined by. The crisis of perception of space and time, the difficulty of using a language that is able to give meaning, the shattering of personal identity, all make it hard to accumulate experiences and transform them into stories to pass on. The only way to start a relationship with the other and with the world is, as Charles Baudelaire and Walter Benjamin state, the moment of choc, the moment lived and that cannot be transmitted. The urgency is to not become a prisoner of the nostalgia for the past, but to make the irreparable oppositions that affect the metropolis productive.

2021 ◽  
Vol V (1) ◽  
pp. 159-165
Author(s):  
Elena Smirennikova

The article deals with a fragment of a lecture by V.V. Bibikhin, in which eternity is interpreted as a constant renewal, the young-new. The new present, the “now”, makes the preceding present different, thereby turning it into the past. This "now" does not exist in the way of being and is recognized only as the boundary between the past and the future. But it touches us, captures us. The new can't be planned, it can only be allowed, let be. The allowing is a risk, because the unknown will always fall out, something that you cannot prepare beforehand, prepare a way to deal with it. However, in the new we always recognize the same thing. Also to be ready for the new is to be ready for the generosity of being, which gives more and more. Being gives space and time to appear. The non-appeared, the different, seems to us separated with a line, a boundary. And we imagine eternity as something being abroad, beyond the line of time. But for Bibikhin, this is a meeting with the boundary itself, which is different both to what is located on one side of the boundary and to what is on the other. Eternity is not there, “beyond the line”, but here and now: it exists by its absence. Absolutely different, boundary, line, eternity — not just different, but is different, new each time. That is why Bibikhin's eternity is the young-new itself.


2010 ◽  
Vol 5 (1-2) ◽  
pp. 14-20
Author(s):  
Zsófia Kulbert

When we advert the trends of the tourism of the past years, we can see that those pro-duces, which are based on unique experiences, became more popular, than other ones. In the other side, nowadays the experience is beginning to turn into a new category of tourism very forcefully. In the ground of West-Transdanubien region there are two spot, which are parts of the World-Heritage: The Arch abbey of Pannonhalma, which was getting into to the list in 1996, and the Fertő culture land. It may be hypothesized, that the World Heritage denomi-nation involves a rise in the number of visitors. The circumstances at the moment are not so rewarding, to fulfil the hopes, what the tourism appends to it; it would be need complex innovate, which includes some important component: to develop the policy of tourism and the efficient management.


1979 ◽  
Vol 3 (3-4) ◽  
pp. 242-244 ◽  
Author(s):  
Bruce Kuklick

Despite differences in coloration Miller and Benson are birds of a feather. Although he is no Pollyanna, Miller believes that there has been a modest and decent series of advances in the social sciences and that the most conscientious, diligent, and intelligent researchers will continue to add to this stock of knowledge. Benson is much more pessimistic about the achievements of yesterday and today but, in turn, offers us the hope of a far brighter tomorrow. Miller explains Benson’s hyperbolic views about the past and future by distinguishing between pure and applied science and by pointing out Benson’s naivete about politics: the itch to understand the world is different from the one to make it better; and, Miller says, because Benson sees that we have not made things better, he should not assume we do not know more about them; Benson ought to realize, Miller adds, that the way politicians translate basic social knowledge into social policy need not bring about rational or desirable results. On the other side, Benson sees more clearly than Miller that the development of science has always been intimately intertwined with the control of the environment and the amelioration of the human estate.


PMLA ◽  
1967 ◽  
Vol 82 (1) ◽  
pp. 14-27
Author(s):  
Leon F. Seltzer

In recent years, The Confidence-Man: His Masquerade, a difficult work and for long an unjustly neglected one, has begun to command increasingly greater critical attention and esteem. As more than one contemporary writer has noted, the verdict of the late Richard Chase in 1949, that the novel represents Melville's “second best achievement,” has served to prompt many to undertake a second reading (or at least a first) of the book. Before this time, the novel had traditionally been the one Melville readers have shied away from—as overly discursive, too rambling altogether, on the one hand, or as an unfortunate outgrowth of the author's morbidity on the other. Elizabeth Foster, in the admirably comprehensive introduction to her valuable edition of The Confidence-Man (1954), systematically traces the history of the book's reputation and observes that even with the Melville renaissance of the twenties, the work stands as the last piece of the author's fiction to be redeemed. Only lately, she comments, has it ceased to be regarded as “the ugly duckling” of Melville's creations. But recognition does not imply agreement, and it should not be thought that in the past fifteen years critics have reached any sort of unanimity on the novel's content. Since Mr. Chase's study, which approached the puzzling work as a satire on the American spirit—or, more specifically, as an attack on the liberalism of the day—and which speculated upon the novel's controlling folk and mythic figures, other critics, by now ready to assume that the book repaid careful analysis, have read the work in a variety of ways. It has been treated, among other things, as a religious allegory, as a philosophic satire on optimism, and as a Shandian comedy. One critic has conveniently summarized the prevailing situation by remarking that “the literary, philosophical, and cultural materials in this book are fused in so enigmatic a fashion that its interpreters have differed as to what the book is really about.”


Resonance ◽  
2021 ◽  
Vol 2 (2) ◽  
pp. 182-191
Author(s):  
D. Michael Cheers

This essay is inspired by the words of Pulitzer Prize–winning Chicago Sun Times photographer John White, who once told me to “listen for the pictures.” His message rang clear but never more so than when in 1990 we were covering the release of Nelson Mandela in Cape Town, South Africa. The Cape Town scene was alive and filled with so much vibrance. I was keenly aware that I must not just look, but I must listen, and use all my God-given senses to take it in. I can only describe the moment I started listening to the layer of sound, which was my own clicking camera superimposed on the chorus of sounds that surrounded me as both meta and sonorific. There was a certain rhythm to the sensation I felt in being one with my camera. It transported me to a wonderful place in time where visuals and cadences danced together. I realized there was alchemy in this and in all the other moments and locations I had spent behind a camera developing and exercising that “inner ear” my ancestors, some gone, like Gordon Parks, but others here, like White, taught me to revere. This essay is a snapshot of some of those moments—a proof sheet, if you will—from a life that began, as did the civil rights era, with instances of terror and triumph. This essay chronicles my journey as a young photographer and the many influences that shaped my creative process and eventually my worldview. This essay is an invitation to travel with me through time and see life as my camera and I witnessed it, and to hear and sense the world as I do.


Arts ◽  
2020 ◽  
Vol 9 (2) ◽  
pp. 71
Author(s):  
Yael Munk

This article relates to the complex approach of Dina Zvi-Riklis’ film Three Mothers (2006) to immigration, an issue that is central to both the Jewish religion and Israeli identity. While for both, reaching the land of Israel means arriving in the promised land, they are quite dissimilar, in that one is a religious command, while the other is an ideological imperative. Both instruct the individual to opt for the obliteration of his past. However, this system does not apply to the protagonists of Three Mothers, a film which follows the extraordinary trajectory of triplet sisters, born to a rich Jewish family in Alexandria, who are forced to leave Egypt after King Farouk’s abdication and immigrate to Israel. This article will demonstrate that Three Mothers represents an outstanding achievement, because it dares to deal with its protagonists’ longing for the world left behind and the complexity of integrating the past into the present. Following Nicholas Bourriaud’s radicant theory, designating an organism that grows roots and adds new ones as it advances, this article will argue that, although the protagonists of Three Mothers never avow their longing for Egypt, the film’s narrative succeeds in revealing a subversive démarche, through which the sisters succeed in integrating Egypt into their present.


Arts ◽  
2020 ◽  
Vol 9 (4) ◽  
pp. 129
Author(s):  
Sigrún Alba Sigurðardóttir

The past 20 years have seen a shift in Icelandic photography from postmodern aesthetics towards a more phenomenological perspective that explores the relationship between subjective and affective truth on the one hand, and the outside world on the other hand. Rather than telling a story about the world as it is or as the photographer wants it to appear, the focus is on communicating with the world, and with the viewer. The photograph is seen as a creative medium that can be used to reflect how we experience and make sense of the world, or how we are and dwell in the world. In this paper, I introduce the theme of poetic storytelling in the context of contemporary photography in Iceland and other Nordic Countries. Poetic storytelling is a term I have been developing to describe a certain lyrical way to use a photograph as a narrative medium in reaction to the climate crisis and to a general lack of relation to oneself and to the world in times of increased acceleration in the society. In my article I analyze works by a few leading Icelandic photographers (Katrín Elvarsdóttir, Heiða Helgadóttir and Hallgerður Hallgrímsdóttir) and put them in context with works by artists from Denmark (Joakim Eskildsen, Christina Capetillo and Astrid Kruse Jensen), Sweden (Helene Schmitz) and Finland (Hertta Kiiski) artists within the frame of poetic storytelling. Poetic storytelling is about a way to use a photograph as a narrative medium in an attempt to grasp a reality which is neither fully objective nor subjective, but rather a bit of both.


2019 ◽  
pp. 7-19
Author(s):  
Katarzyna Wądolny-Tatar ◽  

Retroactivity of the Biography and Works of Antonina Domańska Retroactivity is the process of inscription, it is about updating the contextually interpreted past. Thus, retroactive reading is seen as a selective and affirmative attempt to internalise the world, imitating the personal system of existential and reading experiences. On the other hand, as a part of literary research, it counts as a description of the works and life of the creators from earlier eras, carried out with the use of modern ways to explore “signs of the past”, through the new scientific methods and concepts. For Szymon Wróbel, author of the monograph Lektury retroaktywne. Rodowody współczesnej myśli filozoficznej [Retroactive Reading. Origins of Contemporary Philosophical Thought], retroactive reading is “travelling in the vehicle of multiple narratives”. We invite you to such a journey in the collective monograph (Re)Construction of the Past in Antonina Domańska’s Prose, in which we propose a multilateral interpretation of the biography and works of Antonina Domańska, including her family connections, vision of literature for children and young people, ways of understanding history in the dynamics of memory and imagination, world of values (also spiritual) designed in her texts, biological and cultural construction of sexes (also from the perspective of socio-cultural roles of Domańska), finally – including the critical reception of the works of the author of Historia żółtej ciżemki in comparison with the works of other artists.


Antiquity ◽  
1947 ◽  
Vol 21 (83) ◽  
pp. 116-121
Author(s):  
M. E. L. Mallowan

IT is a pity that Hume, who carried the Cartesian system of philosophy to its logical conclusion, lived too early to contemplate the discoveries of the past century in Egypt and Babylonia, for he would readily have understood and assimilated the ancient processes of thought which arose at the dawn of history in Western Asia--‘ And no truth appears to me more evident ’, he said, ‘ than that beasts are endowed with thought and reason as well as man ’. The arguments are developed in section XVI of ‘ The Understanding ’, where there are many delightful passages of special relevance to the ancient concepts about life. Again, he said that a bird, that ‘chooses with such care and nicety the place and materials of the nest, and sits upon her eggs for a due time, and in a suitable season, with all the precaution that a chymist is capable of in the most delicate projection, furnishes us with a lively instance of animal sagacity’. Locke, on the other hand, in his discussion of animal rationale, had refused to be drawn so far. ‘ And if Balaam’s ass had, all his life, discussed as rationally as he did once with his master, I doubt yet whether any one would have thought him worthy the name ‘man’, or allowed him to be of the same species with himself ’. Of these two statements Hume’s approximates more closely to the earliest Asiatic view of life, and it is on these lines that Messrs. Frankfort, Wilson, and Jacobsen have approached their problem, which, briefly put is-how did the early thinkers of the Near East come to say what they did about creation, the state, and man ? Professor and Mrs Frankfort define the earliest mode of thought as an ‘ I-thou ’ relation-ship, by which they mean that the primitive Asiatic conceived of all creation in a reciprocal nexus wherein the material world was percipient as well as perceived, and Professor Wilson elaborates the same theme by saying that for the Egyptians the world was consubstantial, and that their view of life might be defined as monophysite. Pro-fessor Jacobsen’s contribution illustrates to what extent the Mesopotamian view of life conformed with this outlook, for example how salt and grain were conceived of as animate beings in a close relationship with man, responsible and responsive to him. Other ideas peculiar to the Mesopotamian mind are no less clearly stressed, and herein lies the fascination of the book, that we have a comparative examination of the Egyptian, Mesopotamian and Israelite approach to life, for Hebrew theology was cast out of a similar matrix. In a concluding chapter by the Frankforts, we see the dawn of a new intellectual era. The Greek physical philosophers, regardless of the data of experience, carried the old basic concepts of the Egyptians and Mesopotamians from a concrete to an abstract frame and worked them to a reductio ad absurdurn, much as Hume did for the concepts of Cartesian philosophy. Their prescience gave birth to science. Nor should we forget that Thales of Miletus prophesied an eclipse, thereby following in the wake of the Babylonian astronomers, who had made similar observations and recorded them centuries earlier.


Author(s):  
Giovanni Stanghellini

This chapter discusses how perspectivism is the device through which each one of us, who first and foremost sees the world from his point of view, is able to recognize that precisely as just one point of view, and thereby to change it. A healthy mental condition implies the ability to change one’s point of view and temporarily take the perspective of another person. The stronger the reciprocity of perspectives between my former and my present ego, and between my own vantage and the Other’s, the weaker the tendency to perceive my motivations as absolutely necessary. Perspectivism allows me to see myself as not strictly determined by the past and by the involuntary, and may restore a sense of agency. This explains why the reciprocity of perspectives is a therapeutic goal and perspectivism—the attempt to see things from the point of view of the Other—is a therapeutic device.


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