Aisthesis and Dispositif: The Pulse and Its Analogues

2020 ◽  
pp. 97-129
Author(s):  
Sharon Jane Mee
Keyword(s):  
Short Story ◽  
Penal Colony ◽  
The Spectator ◽  
The Aesthetic

This chapter discusses Jean-François Lyotard’s concept of aisthesis, which he develops through an examination of the executing apparatus in Franz Kafka’s short story ‘In the Penal Colony’. Aisthesis provides scope for defining the ‘felt’ spectatorship of the pulse, which can be differentiated from the aesthetic spectatorship concerned with the rhythms of the apparatus. By examining the viewing conditions established for William Castle’s The Tingler (1959), which saw cinema seats wired with electric devices that would ‘tingle’ their occupants, this chapter finds that what this apparatus ‘exposes’ is the aisthetic sensations of the spectator. It considers how the ‘machine-like’ prescription of the apparatus breaks into the energetic work of the dispositif of cinema at the site of the spectator, and more broadly, where the dispositif stands as a social apparatus in what is, for both Kafka’s and Castle’s apparatus, a disciplinary act.

From Altered States to Altered Titles: A Close Analysis of the Title Sequence to Ken Russell's Altered States (1981)

2015 ◽  
Vol 12 (4) ◽  
pp. 556-571
Author(s):  
Jack Post
Keyword(s):  
Altered States ◽  
Thematic Structure ◽  
Personal Projects ◽  
Mise En Abyme ◽  
Narrative Representations ◽  
Close Analysis ◽  
Film Images ◽  
The Spectator ◽  
To Come ◽  
The Aesthetic

Although most title sequences of Ken Russell's films consist of superimpositions of a static text on film images, the elaborate title sequence to Altered States (1981) was specially designed by Richard Greenberg, who had already acquired a reputation for his innovative typography thanks to his work on Superman (1978) and Alien (1979). Greenberg continued these typographic experiments in Altered States. Although both the film and its title sequence were not personal projects for Russell, a close analysis of the title sequence reveals that it functions as a small narrative unit in its own right, facilitating the transition of the spectator from the outside world of the cinema to the inside world of filmic fiction and functioning as a prospective mise-en-abyme and matrix of all the subsequent narrative representations and sequences of the film to come. By focusing on this aspect of the film, the article indicates how the title sequence to Altered States is tightly interwoven with the aesthetic and thematic structure of the film, even though Russell himself may have had less control over its design than other parts of the film.

scholarly journals THE BODY IN THE HISTORY OF WESTERN EUROPEAN AND RUSSIAN THEATRE: CULTURAL VARIABILITY OF SHAME

Articult ◽  
2021 ◽  
pp. 19-31
Author(s):  
Leila F. Salimova ◽  
◽  
Keyword(s):  
Scientific Knowledge ◽  
Performing Arts ◽  
Point Of View ◽  
The Body ◽  
Ethical Aspect ◽  
Close Relationship ◽  
History Of ◽  
The Spectator ◽  
The Aesthetic ◽  
Considerable Body

Modern scientific knowledge approaches the study of the physical and aesthetic bodies with a considerable body of texts. However, on the territory of the theater, the body is still considered exclusively from the point of view of the actor's artistic tools. Theatrical physicality and the character of physical empathy in the theater are not limited to the boundaries of the performing arts, but exist in close relationship with the visual and empirical experience of the spectator, performer, and director. The aesthetic and ethical aspect of the attitude to the body in the history of theatrical art has repeatedly changed, including under the influence of changing cultural criteria of "shameful". The culmination of the demarcation of theatrical shame, it would seem, should be an act of pure art, independent of the moral restrictions of society. However, the experiments of modern theater continue to face archaic ethical views. The article attempts to understand the cultural variability of such a phenomenon as shame in its historical and cultural extent using examples from theater art from antiquity to the present day.

scholarly journals Out of Bounds: Confronting War Crimes and the Breakdown of Justice with Contemporary Art

2021 ◽  
pp. 52
Author(s):  
Catherine Bernard
Keyword(s):  
Aesthetic Experience ◽  
War Crimes ◽  
The Political ◽  
Embodied Experience ◽  
International Conflicts ◽  
Administration Of Justice ◽  
Collective Remembering ◽  
The Spectator ◽  
Marc Quinn ◽  
The Aesthetic

Recent art has turned to judiciary and extra-judiciary practices, specifically in the context of international conflicts, in order to assert art’s political accountability and relevance to our capacity to historicise the present. The war in Iraq inspired works that directly address issues of representation and remediation, such as Marc Quinn’s Mirage (2008), in which the aesthetic experience opens onto an ambiguous experience of the breakdown of justice. Other works have chosen to turn carceral space itself into the site of a collective remembering that harnesses affect to a critical reflection on the administration of justice, on assent and dissent. This article will turn to key works by Marc Quinn and Trevor Paglen that confront extra-judiciary malpractices, but also to recent collective art projects involving an interdisciplinary take on the experience of imprisonment, such as Inside. Artists and Writers in Reading Prison (2016), in which artists of all backgrounds responded to Oscar Wilde’s De Profundis on the very premises of Wilde’s incarceration, as well as the work of 2019 Turner Prize co-recipient: Jordanian sound artist Lawrence Abu Hamdan whose recent works rely on testimonies from Syrian detainees and probe the political pragmatics of aural art. All these works have turned to the document—literary, visual, aural—to reflect on the process of experiential mediation. How does the experience of imprisonment, or extra-judiciary malpractices, come to the spectator? How are they read, heard, interpreted, remediated? The article ponders the remediation and displacement of aesthetic experience itself and the “response-ability”—following Donna Haraway’s coinage—of such a repoliticised embodied experience. It will assess the way by which such interdisciplinary works rethink the poetics of the documentary for an embodied intellection of justice—and injustice—in the present.

People’s Confessor of the Caves of Gethsemane Skete: The Image of St. Barnabas of Gethsemane in Prose by I. S. Shmelev

2020 ◽  
pp. 324-342
Author(s):  
Денис Владимирович Макаров
Keyword(s):  
Short Story ◽  
Personal Relationship ◽  
Cultural Tradition ◽  
Historical Method ◽  
The World ◽  
Monastic Life ◽  
State Of Mind ◽  
The Aesthetic ◽  
Aesthetic Thinking

Основная цель исследования - изучить образ преподобного Варнавы Гефсиманского в творчестве Ивана Сергеевича Шмелёва, а также показать значение в судьбе писателя личного общения со старцем Варнавой. В работе применяется сравнительно-исторический метод и метод филологического анализа. Для достижения указанной цели анализируется биография писателя, художественные произведения И.С. Шмелёва, в которых встречается образ преподобного Варнавы Гефсиманского, в частности романы «История любовная», «Лето Господне», «Пути Небесные», повесть «Богомолье», очерк «У старца Варнавы» и другие. Наиболее важные результаты исследования: И. С. Шмелёв создаёт образы праведников, опираясь на эстетическую традицию православия изображать святых и праведников в сиянии света. Немаловажным эстетическим приёмом является изображение человека глазами ребенка, стоящего на границе «ангельского» возраста, который, глядя на людей, воспринимает в силу своей духовной чистоты не столько их внешний облик, сколько состояние души: светлое или тёмное. При этом светоносность выстраивается в художественной системе И. С. Шмелёва в чёткую иерархию, которая основана на святоотеческой православной иерархии, выраженной словами преподобного Иоанна Лествичника: «Свет монахам - ангелы, а свет для всех мирских - монахи и монашеское житие», что наглядно показывает глубокую укорененность эстетического мышления писателя в православной культурной традиции. The main goal of the study is to evaluate the image of the Monk Barnabas of Gethsemane in the work of Ivan Sergeyevich Shmelev, as well as the significance of the writer’s personal relationship with elder Barnabas. The work uses the comparative historical method and the method of philological analysis. To achieve this goal, an analysis is made of the biography and works of I. S. Shmelyov, in which the image of the Monk Barnabas of Gethsemane is found, in particular, in the novels The Story of a Love, The Summer of the Lord, The Heavenly Ways, The Pilgrimage (Bogomoliye), the short story A Visit to Elder Barnabas, and others. The most important results of the study show that I. S. Shmelev creates images of the righteous, relying on the aesthetic tradition of Orthodoxy- he depicts saints and the righteous in a radiant and favourable light. An important aesthetic device is the image of a person through the eyes of a child, soon to cross the “angelic” age, who (due to his spiritual purity), looking at people, perceives not only their appearance, but their state of mind: light or dark. At the same time, luminosity is built in the artistic system of I. S. Shmelyov in a clear hierarchy, which is based on the patristic Orthodox hierarchy, expressed by the words of St. John Climacus: «Angel are an example for monks and monks and monastic life are a light to to all in the world», which clearly show the deep-rooted aesthetic thinking of the writer in the Orthodox cultural tradition.

STRATEGIES FOR INTERPRETING I.A. BUNIN’S SHORT STORY “THE RAVEN” IN THE CONTEXT OF INTEGRAL ANALYSIS

2021 ◽  
pp. 106-111
Author(s):  
Н.Г. Сичинава
Keyword(s):  
Short Story ◽  
Literary Text ◽  
Literary Analysis ◽  
Psychological State ◽  
The Novel ◽  
Hidden Information ◽  
Inner World ◽  
Artistic Images ◽  
Foreign Speakers ◽  
The Aesthetic

Статья посвящена рассмотрению проблемы формирования основ филологического анализа и интерпретации художественного текста на материале новеллы И.А. Бунина «Ворон». Автор обосновывает необходимость интеграции лингвистического, лингвострановедческого и литературоведческого анализа для обеспечения максимально полного восприятия художественного дискурса инофонами. Зависимость понимания художественного текста и получаемого при его чтении эстетического эффекта от глубины восприятия словесно-художественных образов автор продемонстрирует на материале новеллы И.А. Бунина «Ворон». Средствами создания образов в рассказе являются символика имени; прямая или косвенная характеристики; портрет героя; действия и поступки героя; образы-детали; описание психологического состояния героя; изображение внутреннего мира героя через воспоминания; речь. Как показал анализ, в тексте бунинского рассказа значительный лексический пласт образуется за счет прецедентных феноменов. Процесс их декодирования можно рассматривать как важное средство экспликации текстовой информации. Прежде всего, в исследовательский объектив попадают прецедентные имена. Именно через них можно установить ассоциативные связи с теми понятиями-образами, которые были характерны для российского общества описываемой эпохи или русского лингвокультурного сообщества в целом. В раскрытии образов важную роль играют имплицирующие детали, актуализация которых в ряде случаев происходит через комментарии, заранее подготовленные преподавателем. Особый интерес вызывает проблема смыслового восприятия и понимания имени героини новеллы. Декодирование символики имени героини происходит на основе прецедентных текстов. Данная стратегия формирует у студентов способность узнавать, понимать и адекватно интерпретировать смысл художественного теста с интертекстуальными включениями. Кодирование культурной информации, которая впоследствии должна быть разгадана читателем, имеет место при введении в контекст новеллы определенных лексических единиц. Ключевые слова: художественный текст, интерпретация, прецедентный феномен, образ, язык, И.А. Бунин. The article is devoted to the problem of forming the foundations of philological analysis and interpretation of a fiction text based on the material of I. A. Bunin's short story “The Raven”. The author justifies the need to integrate linguistic, linguistic-cultural and literary analysis in order to ensure the fullest possible perception of fiction discourse by foreign speakers. The author demonstrates the dependence of the understanding of a literary text and the aesthetic effect obtained when reading it on the depth of perception of verbal and artistic images based on the material of I. A. Bunin's Novella "the Raven". The means of creating images in the story are: symbolism of the name; direct or indirect characteristics; portrait of the hero; actions and actions of the hero; images-details; description of the psychological state of the hero; image of the inner world of the hero through memories; speech. Explication of the information contained in the text can proceed along the path of decoding precedent phenomena. When using a precedent name, the author appeals to certain concepts-images that were well known to him and his contemporaries, but do not mean anything to the modern reader. Thus, decoding hidden information requires knowledge accumulated in a given linguistic and cultural community or by humanity as a whole. Implying details play an important role in the disclosure of images, which in some cases are updated through comments prepared in advance by the teacher. Of particular interest is the problem of semantic perception and understanding of the name of the heroine of the novel, which contains references to precedent texts. Decoding the symbolism of the heroine's name gives students the ability to recognize, understand and adequately interpret the meaning of an artistic test with intertextual inclusions. The encoding of cultural information, which must later be unraveled by the reader, takes place when certain lexical units are introduced into the context of the novel.

Heinrich Rauchberg (1860–1938): A Reappraisal of a Central European Demographer's Life and Work

2019 ◽  
Vol 50 ◽  
pp. 78-98
Author(s):  
Iris Nachum
Keyword(s):  
Short Story ◽  
Social Insurance ◽  
Housing Assistance ◽  
Professional Career ◽  
The Public ◽  
Penal Colony ◽  
Left Behind ◽  
Legal Questions ◽  
German Speaking ◽  
First Time

In the small, idyllic German Evangelical Cemeteryin Prague-Strašnice, a simple tombstone stands in the back row of graves, dedicated to the memory of “Dr. Heinrich Rauchberg, Professor at the German University in Prague, 1860–1938” and his wife Freia (1874–1939) (see Figures 1 and 2). When the Viennese-born demographer passed away, he left behind him an impressive professional career in the Habsburg monarchy and later in Czechoslovakia: he published a massive body of professional studies in population statistics and was an important figure at the German University in Prague, where he founded the Institute of Political Science in 1898 and served as dean of the Faculty of Law (1902–3, 1916–17, and 1926–27) and as university rector (1911–12). Outside the academic realm, Rauchberg was also involved in a broad range of activities. In 1890, for instance, he headed the Austrian census, in which the Hollerith electric counting machine was employed for the first time in Europe; Franz Kafka, his student in 1905, would later craft a literary monument to Rauchberg, the machine expert, in the short story “In the Penal Colony.” Especially after the establishment of the Czechoslovak Republic in 1918, Rauchberg became a familiar figure among the local German minority, particularly because of his radio broadcasts on legal questions; his frequent articles in the German-speaking press on current issues; his numerous public lectures on social topics; his tireless engagement with housing assistance, tenant protection, and social insurance; and his involvement in the German League of Nations Union in the Czechoslovak Republic, which he cofounded in 1922. In short, he was a scholar very much in the public eye.

scholarly journals O corpóreo e a erupção da bestialidade em Carne e Sozinho Contra Todos, de Gaspar Noé // The bodily and the eruption of bestiality in Meat and I Stand Alone, by Gaspar Noé

2019 ◽  
Vol 16 (3) ◽  
pp. 786
Author(s):  
Josette Alves de Souza Monzani ◽  
Mario Sergio Righetti
Keyword(s):  
Life History ◽  
The Body ◽  
The Social ◽  
History Of ◽  
Historia De Vida ◽  
The Spectator ◽  
The Aesthetic ◽  
Aesthetic Procedures

Resumo: Procura-se apontar de que modo os procedimentos estéticos do diretor franco-argentino Gaspar Noé acabam por realizar uma proposta de cinematografia radical que estabelece uma tensão no compartilhamento sensorial entre o corpo da tela, o corpo da câmera e o corpo do espectador. Carne (1991) e Sozinho Contra Todos (1998) narram a história de vida do Açougueiro, um cidadão à margem da sociedade metropolitana francesa, marcada por represamentos afetivos que o comprimem e levam a cometer ações bestiais marcadas por ‘enganos’, equívocos que o prejudicarão para sempre.O corpo cinematográfico de Noé faz uso da imagem e do som hápticos, trilhando um caminho batailleano - através da transgressão, da sensorialidade e da experimentação do abjeto -, e através deles busca induzir no espectador o que denominamos afeto carnal e corporeidade imanente como forma de pontuar as questões sociais e éticas propostas pelo diretor. Abstract: It is tried to point out how the aesthetic procedures of the French-Argentine director Gaspar Noé end up making a proposal of radical cinematography that establishes a tension in the sensorial sharing among the body of the screen, the body of the camera and the body of the spectator. Meat (1991) and I Stand Alone (1998) chronicle the life history of the Butcher, a citizen on the fringes of French metropolitan society, marked by affective imprisonments that compel him to commit bestial actions marked by ‘mistakes’, mistakes that will do him harm forever. The cinematographic body of Noé makes use of haptic image and sound, traversing a Bataillean path - through transgression, sensoriality and experimentation of the abject - and by them seeks to induce in the viewer what we call carnal affection and immanent corporeity as a way of punctuating the social and ethical questions proposed by the director.

scholarly journals Terrorens poetik: Revolutionen skrives med småt

2009 ◽  
Vol 37 (107) ◽  
pp. 52-73
Author(s):  
Susanne Stoltz ◽  
Anders Tønnesen
Keyword(s):  
Literary History ◽  
Aesthetic Experience ◽  
Left Wing ◽  
Situationist International ◽  
Avant Garde ◽  
Red Army ◽  
The Spectator ◽  
1960S And 1970S ◽  
The 1960S ◽  
The Aesthetic

The Poetics of Terror: The Manifestoes of the RAF:This paper points to a ‘forgotten’ literary history of the Red Army Fraction (RAF) in order to contest a common misconception. The RAF is often perceived solely as a political phenomenon and its justification of terrorism as a political discourse. Thereby many scholars bluntly fail to pinpoint the attractiveness of the left-wing terrorism of the 1960s and 1970s. The paper argues that the writings of the first generation of the RAF also convey a ‘poetics’ of terrorism. It points to a somewhat overlooked strategy of justification in the writings, which can be formulated as follows: Both the act of terrorism and the utterance of its defence are justified as aesthetic experiences. Furthermore, this was constructed under heavy influence from groups of avant-garde artists in the tradition of the Situationist International (SI). The paper analyses the strategy of justification found in the first few RAF-statements. Beneath the political jargon of left-wing radicalism and the »credo of immediate action«, the paper locates another strategy of justification that carries the sign of avant-garde thought. According to the manifestoes of the RAF, the aesthetic experience of a terrorist act could liberate the spectator. The study concludes that the writings of RAF unveil a ‘poetics’ of terrorism. The act of terrorism is a radical transgression of reality. Hence, the terrorist act destroys the ‘mechanical’ system of cognitive oppression because it shows the possibility of another world. That is why the RAF views terror as a model of spiritual liberation. In addition to this the statements communicate a parallel concept to the ‘poetics’ of the terror act. The RAF constructed a concept of revolutionary language, ‘the armed propaganda’, which claimed to break down the barriers of ‘domination’ in the consciousness of the recipient. In doing so the statements perform what they preach; they are themselves acts of terror. The RAF’s concept of terrorism comprises both word and deed. The writings are acts and the acts are utterances. Accordingly, RAF’s ‘poetics’ of terrorism can be described as the transgression of reality in the word or deed of terror that leads to spiritual liberation.

scholarly journals Bullet sized

2020 ◽  
Vol 10 (2) ◽  
pp. 211-214
Author(s):  
Paul March-Russell
Keyword(s):  
Short Story ◽  
Aesthetic Form ◽  
The Aesthetic

Abstract Taking as a touchstone A. L. Kennedy's observation about the disproportionate impact of the short story compared to its size, this article explores the extent to which David Von Ancken's adaptation of Tobias Wolff's text finds, via montage and perspective, a cinematic analogue to the aesthetic form of the short story.

scholarly journals Toward a Common Configurative Impulse

MODOS ◽  
2021 ◽  
Vol 5 (1) ◽  
pp. 115-127
Author(s):  
Kaira M. Cabañas
Keyword(s):  
Contemporary Art ◽  
Psychiatric Patients ◽  
Relational Contract ◽  
Brazilian Art ◽  
Geometric Abstraction ◽  
Concrete Art ◽  
The Subject ◽  
The Spectator ◽  
The Aesthetic ◽  
Creative Production

Brazilian art critic Mário Pedrosa’s theorization of art’s affective power, whereby the relational contract with the spectator is neither rational nor purely visual but is infused with feeling, was decisive for understandings of geometric abstraction as expressive in the 1950s. “Toward a Common Configurative Impulse” turns to another modernism, nestled alongside the geometric ones that would come to define the aesthetic of artists associated with Concrete Art in these years. Beyond Concrete Art, Pedrosa’s modernism also encompassed the creative production of diverse practitioners, among them, popular artists, self-taught artists and psychiatric patients (the latter is the subject of my book Learning from Madness: Brazilian Modernism and Global Contemporary Art). With this in mind, this essay tracks the historical and discursive origins for such an inclusive modernism and how Pedrosa’s embrace of different artistic subjectivities calls for a necessary shift in the historiography of Brazilian modernism at mid-century.

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