The Anchorless Postmodern Experience within an Ahistorical Filmic Space: Django Unchained (2012)

2019 ◽  
pp. 109-130
Author(s):  
John White
Keyword(s):  
Real Space ◽  
Historical Research ◽  
Historical Period ◽  
Gone With The Wind ◽  
Historical Reality ◽  
Space And Time ◽  
Spaghetti Westerns ◽  
Relationship Of ◽  
The Relationship ◽  
The Way

This chapter considers the way in which Django Unchained (2012) is specifically positioned by the director within a well-defined historical period but is then constructed very clearly as a cinematic fantasy. It is argued that this film, despite genuine concerns on the part of those involved in its making for the ramifications of slavery, does not look to exist in relation to a real space and time but instead within an intense matrix of film references. The relationship of this film to Hollywood classics, such as Gone with the Wind (1939), as well as to spaghetti Westerns and blaxploitation (and sexploitation) movies is examined with reference to specific details from the films. The intense background historical research undertaken by Tarantino is acknowledged. Ultimately, however, the film is seen as a postmodernist text, which because of its ahistorical form is able to escape the need to fully address historical reality.

Anthropological communities of interpretation for Burma: An overview

2008 ◽  
Vol 39 (2) ◽  
pp. 239-254 ◽  
Author(s):  
U Chit Hlaing
Keyword(s):  
Southeast Asia ◽  
Ethnic Groups ◽  
Field Of Study ◽  
Anthropological Theory ◽  
History Of ◽  
Relationship Of ◽  
The Relationship ◽  
The Way

AbstractThis paper surveys the history of anthropological work on Burma, dealing both with Burman and other ethnic groups. It focuses upon the relations between anthropology and other disciplines, and upon the relationship of such work to the development of anthropological theory. It tries to show how anthropology has contributed to an overall understanding of Burma as a field of study and, conversely, how work on Burma has influenced the development of anthropology as a subject. It also tries to relate the way in which anthropology helps place Burma in the broader context of Southeast Asia.

scholarly journals The brain as a fundamental axis in learning process

2019 ◽  
Vol 5 (4) ◽  
pp. 38-45
Author(s):  
Luis Raul Meza Mendoza ◽  
María Elena Moya Martinez ◽  
Angelica Maria Sabando Suarez
Keyword(s):  
Learning Process ◽  
The Body ◽  
Traditional Scheme ◽  
Teaching Learning ◽  
Relationship Of ◽  
The Relationship ◽  
The Brain ◽  
Learning Schemes ◽  
New Strategies ◽  
The Way

Since the beginning of humanity, an attempt has been made to explain the way in which man acquires knowledge, the way in which he assimilates, processes and executes it in order to develop the teaching-learning process that people need throughout of his life, which forces to change the learning schemes using new study methodologies, such as neuroscience, which is a discipline that studies the functioning of the brain, the relationship of neurons to the formation of synapses creating immediate responses which transmits to the body voluntarily and involuntarily, in addition to controlling the central and peripheral nervous system with their respective functions. It is necessary to change the traditional scheme and implement new strategies that allow the teacher to venture into neuroscience, in order to individually understand the different learning processes that students do. As some authors of neuroscience say, the brain performs processes of acquisition, storage and evocation of information, which form new knowledge schemes that generate changes in the attitude of the human being, for this reason teachers are responsible for taking advantage of what It is known about the multiple functions of the brain and be clear about the various ways of acquiring knowledge.

scholarly journals Archiving Metaxourgio

2021 ◽  
pp. 167-184
Author(s):  
Thomais Kordonouri
Keyword(s):  
Urban Area ◽  
21St Century ◽  
Ground Level ◽  
The Past ◽  
The Future ◽  
Relationship Of ◽  
The Relationship ◽  
Selection Of ◽  
The Way

‘Archive’ is a totality of records, layers and memories that are collected. A city is the archive that consists of the conscious selection of these layers and traces of the past and the present, looking towards the future. Metaxourgio is an area in the wider historic urban area of Keramikos in Athens that includes traces of various eras, beginning in the Antiquity and continuing all the way into the 21st century. Its archaeological space ‘Demosion Sema’ is mostly concealed under the ground level, waiting to be revealed. In this proposal, Metaxourgio is redesigned in light of archiving. Significant traces of the Antiquity, other ruins and buildings are studied, selected and incorporated in the new interventions. The area becomes the ‘open archive’ that leads towards its lost identity. The proposal aims not only to intensify the relationship of architecture with archaeology, but also to imbue the area’s identity with meanings that refer to the past, present and future.

‘TRANS-’ APPROACH TO ARCHITECTURE AND MUSIC INTERACTION: THE RELATIONSHIP BETWEEN MARCOS NOVAK’S LIQUID ARCHITECTURE AND MUSIC

2020 ◽  
Vol 0 (21) ◽  
pp. 0-0
Author(s):  
Gizem ÖZKAN ÜSTÜN ◽  
Pınar DİNÇ KALAYCI
Keyword(s):  
Case Studies ◽  
Historical Process ◽  
Music And Architecture ◽  
New Form ◽  
The Individual ◽  
Relationship Of ◽  
The Relationship ◽  
Architecture And Music ◽  
Process Method ◽  
The Way

Aim: The aim of this research is to identify the Novak’s relationship of ‘liquid architecture and music’ as an approach that diverges from the architecture music relationships that have been built throughout the historical process. Method: In describing the approach, initially, the intellectual and critical foundations and features of liquid architecture were emphasized, and subsequently, its relationship with music was discussed through case studies in comparison to the current relationship between architecture and music. Results: When the current relationships of the architecture and music are evaluated, the attitude apart from the arising sensations and affections doesn’t exist within the relationship of liquid architecture and music. Liquid architecture, which has characteristics such as continuity, timelessness, plurality, poetry and obscurity, acquires the characteristics of the individual varying based on his/her body, senses, perceptions, and emotions as the way of producing architecture. It is claimed that the liquidity approach will influence music and architecture in different ways than is known, and that music will transform into a new form of architecture, while architecture becoming a new form of music. In this context, it extends ‘beyond (trans-)’ the limits of current approaches. Conclusion: The sixth category of methodical approaches in architecture music interaction can be defined as the relationship of liquid architecture and music. The way it relates to music and the way it produces architecture also suggests a direction of development to concrete architecture and virtually warns about renewing its theory and tools.

The Literary Artwork between Word and Concept

2019 ◽  
pp. 115-130
Author(s):  
Gerhard Richter
Keyword(s):  
Literary Text ◽  
Work Of Art ◽  
Philosophical Interpretation ◽  
Figurative Speech ◽  
Relationship Of ◽  
The Relationship ◽  
Speculative Thought ◽  
Recent Interpretation ◽  
The Way

This chapter investigates another set of problems with which the uncoercive gaze must contend when it fastens upon a work: the relationship of speculative thought to the work of art and the ways in which the chasm between literal and figurative speech bears upon that relationship. One of the themes that a reading of Kafka’s The Trial should emphasize is the way in which a literary text both calls for philosophical interpretation and resists such interpretation at the same time. One problem that arises out of this constellation concerns the question of the relationship between the literal and the figurative nature of a text’s rhetorical operations. If Kafka’s novel, by causing the relation between the literal and the figural to enter a space of indeterminacy, enacts a situation in which, as Adorno characterizes it, “a sickness means everything [eine Krankheit alles Bedeuten],” no reading of Kafka—at least no reading informed by the sensibilities of the uncoercive gaze—can afford to ignore the precise conceptual terms of this sickness. Finally, to cast Adorno’s reflections on Kafka into sharper relief, the chapter also considers them in relation to Giorgio Agamben’s recent interpretation of The Trial as Kafka’s commentary on the imbrication of law and slander.

The Moral World

2020 ◽  
pp. 228-240
Author(s):  
Christopher J. Insole
Keyword(s):  
Highest Good ◽  
Concept Of God ◽  
The Third ◽  
Space And Time ◽  
Third Phase ◽  
Moral World ◽  
The Relationship ◽  
The Way

This chapter shows how central it is, for Kant, that the concept of God only comes downstream from, and after, the possibility of belief in the ‘moral world’. This moral world is the realm of freedom, wherein autonomy is possible. Only if (deterministic) space and time do not go ‘all the way down’, are freedom, and autonomy, possible. If space and time are ‘things-in-themselves’, Kant asserts, ‘then freedom cannot be saved’ (A536/B564). Only if there is a dimension of reality beyond mechanism, is end-setting, and so autonomy, and the highest good possible. Not even God could achieve the highest good in a universe without end-setting, and without freedom, because this universe would be a sort of ‘desert’ with no ‘inner value’. The sequence of thought we find, both in the second Critique, and in other texts is this: first of all, Kant identifies a need for happiness in proportion to virtue; then Kant identifies the obstacle to the realization of such happiness, which is the mechanistic and deterministic structure of nature; and then Kant moves to the solution, which involves leaning into the realm of freedom, which realm includes God. The significance of the third phase in the progression of thought (the realm of freedom) has not been sufficiently considered, it is argued, when considering the Kant’s ‘moral proof’, and the relationship, for Kant, between morality, the highest good, and God.

Black Curriculum Orientations: A Preliminary Inquiry

1993 ◽  
Vol 63 (3) ◽  
pp. 321-339 ◽  
Author(s):  
William Watkins
Keyword(s):  
United States ◽  
Urban Education ◽  
African Americans ◽  
Curriculum Development ◽  
Educational Experience ◽  
The United States ◽  
Historical Reality ◽  
Relationship Of ◽  
The Relationship ◽  
Race And Culture

In this article, William Watkins presents a historical discussion that traces the development of six different curriculum orientations in the educational experience of African Americans. He begins by pointing out that Black curriculum development is inextricably tied to Black America's experience of slavery and oppression in the United States. Watkins then outlines the six orientations, each of which represents African Americans' differing, although sometimes overlapping, sociopolitical responses to their historical reality. The author concludes that, because of the oppressiveness and separateness of U.S. society, Black curriculum orientations will continue to develop as both a part of and separate from the mainstream curriculum movement. Finally,he suggests that further study of the relationship of ethnicity, race, and culture to curriculum may be revealing as we examine contemporary urban education.

Christ in context

2013 ◽  
Vol 7 (3) ◽  
pp. 257-266
Author(s):  
Nico Vorster
Keyword(s):  
Natural Sciences ◽  
Frame Of Reference ◽  
Religious Language ◽  
Historical Research ◽  
Philosophical Reflection ◽  
Relationship Of ◽  
The Relationship

Abstract This article discusses the inevitable contextual nature of Christology, highlights contextual and transcontextual issues in the study of Christology and then introduces the various contributions to this volume. Contextual issues that are highlighted is the need to develop a Christology that restores a transcendent frame of reference in a materialist world entrapped within an immanent frame of reference, the importance to rethink the relationship of Christ to the cosmos in light of developments within the natural sciences, the universal relevance of Christ and the theme of inculturation. Transcontextual issues that need to be addressed are the Jewish-Christian dialogue on Jesus as the fulfillment of the promise to Israel, the relationship between historical research on Jesus and theological-philosophical reflection on the nature of Christ, the relationship between high and low Christology, Jesus’s universal significance, the meaning of Christ’s atonement, the parousia of Christ and the limits of religious language about Christ.

Mersenne

2019 ◽  
pp. 269-286
Author(s):  
Claudio Buccolini
Keyword(s):  
Divine Omnipotence ◽  
Relationship Of ◽  
The Relationship ◽  
The Way

Mersenne’s multidisciplinary interests marked the relationship of intellectual collaboration that linked him to Descartes, whose research and publications he solicited and promoted, though without ever becoming a “Cartesian”. Mersenne “molecularized” the Cartesian philosophy in terms of a series of specific issues, but the way in which the Minim triggered the debate generated criticism and polemics rather than adhesions to Cartesianism. Mersenne based his argumentations on philosophical and theological presuppositions that differed from those formulated by Descartes, particularly concerning the hypothetical status of science, the validity of logical-mathematical truths, the radicalization of divine omnipotence, and the argument of deceiving God. The unpublished theological manuscripts of the 1640s reveal, however, that after the 1641 Objections, the Minim was ready to accept crucial Cartesian metaphysical theses, but in his own peculiar way.

Collaboration or Appropriation? Examining a 17th c. Panel by David Teniers the Younger and Jan Brueghel the Younger Using Confocal X-Ray Fluorescence Microscopy

2007 ◽  
Vol 1047 ◽  
Author(s):  
Jennifer L. Mass ◽  
Arthur R. Woll ◽  
Noelle Ocon ◽  
Christina Bisulca ◽  
Tomasz Wazny ◽  
...  
Keyword(s):  
Fluorescence Microscopy ◽  
Cross Sections ◽  
Historical Research ◽  
Middle Ground ◽  
X Ray ◽  
Visual Elements ◽  
Bottom Left ◽  
Relationship Of ◽  
The Relationship

AbstractThe 17th c. Flemish painting on panel, The Armorer's Shop, has long been attributed to David Teniers the Younger (1610-1690). The painting depicts an opulent pile of parade armor at the bottom left foreground, a seated armorer at the bottom right foreground, and a forge surrounded by workers in the middle ground. The Teniers attribution is derived from his signature at the bottom right as well as figural groups and other visual elements that are commonly associated with him and executed in his style. During dendrochronological examination of the painting, a portion of the oak plank comprising the overall structure was found to have been carved out so that a smaller plank (containing the parade armor) could be inserted into the resulting depression. This unusual construction, combined with the identification of several paintings by Jan Brueghel the Younger (1601-1678) depicting the same parade armor, raised questions about the attribution and chronology of construction of the painting. Art historical research suggests that the smaller plank with the armor was painted by Brueghel and that the remainder of the panel with the workers and forge was painted by his brother-in-law Teniers. While Brueghel writes of collaborating with Teniers in his journal, this appears to be the only identified collaboration of the two artists. Conventional microanalysis methods did not resolve the painting's construction chronology. However, confocal x-ray fluorescence microscopy (CXRF) revealed the composition and location of buried paint layers at the panel interfaces by combining depth scans at a number of adjacent lateral positions to produce virtual cross-sections over 20 mm in length. The relationship of the paint layers at the panel interfaces provided evidence for the armor panel having been painted separately and prior to the rest of the composition. This data, along with dendrochronological and IRR data, provided a chronology of construction for the painting that provided additional evidence for a Brueghel attribution. An overview of the CXRF technique will be provided along with a discussion of how CXRF data relates to data collected using SEM-EDS, FTIR, Raman, conventional XRF, x-radiography, IRR, and dendrochronology.

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