scholarly journals To write or not to write: censorship in "The Woman in the Photo" by Tia Șerbănescu and "A Censor’s Notebook" by Liliana Corobca

2018 ◽  
Vol 1 (1) ◽  
pp. 8-27
Author(s):  
Monica Manolachi
Keyword(s):  
The Other ◽  
Literary Texts ◽  
Psychological Process ◽  
Production Of Knowledge ◽  
Mise En Abyme ◽  
Points Of View ◽  
The One ◽  
The Mind ◽  
The Relationship ◽  
Compare And Contrast

Censorship as a literary subject has sometimes been necessary in times of change, as it may show how the flaws in power relations influence, sometimes very dramatically, the access to and the production of knowledge. The Woman in the Photo: a Diary, 1987-1989 by Tia Șerbănescu and A Censor’s Notebook by Liliana Corobca are two books that deal with the issue of censorship in the 1980s (the former) and the 1970s (the latter). Both writers tackle the problem from inside the ruling system, aiming at authenticity in different ways. On the one hand, instead of writing a novel, Tia Șerbănescu kept a diary in which she contemplated the oppression and the corruption of the time and their consequences on the freedom of thought, of expression and of speech. She thoroughly described what she felt and thought about her relatives, friends and other people she met, about books and their authors, in a time when keeping a diary was hard and often perilous. On the other hand, using the technique of the mise en abyme, Liliana Corobca begins from a fictitious exchange of emails to eventually enter and explore the mind of a censor and reveal what she thought and felt about the system, her co-workers, her boss, the books she proofread, their authors and her own identity. Detailed examinations and performances of the relationship between writing and censorship, the two novels provide engaging, often tragi-comical, insights into the psychological process of producing literary texts. The intention of this article is to compare and contrast the two author’s perspectives on the act of writing and some of its functions from four points of view: literary, cultural, social and political.

The Duel and the Daïs: Iliadic Warfare as Spectacle

2019 ◽  
pp. 65-108
Author(s):  
Tobias Myers
Keyword(s):  
Critical Role ◽  
The Other ◽  
Mise En Abyme ◽  
Other Hand ◽  
The One ◽  
The Relationship

Chapter 2 explores how the Olympians and the Iliad’s audience are positioned as viewers for the warfare in Books 1–4, and their roles defined. The first section focuses on the gods. Homer initially defines the gods’ role as viewers by drawing on two specific paradigms of live event: entertainment at a daïs (banquet), and the formal duel. Each of these paradigms carries its own suggestions as to the nature of the event, its stakes, and the relationship between viewer and action. As entertainment accompanying a daïs, the warfare may generate pleasure (terpein) for viewers whose critical role is to praise or blame the dramatic figure pulling the strings. As a spectacle modelled on the formal duel, the warfare is observed by implicated, partisan viewers, who are themselves a part of the conflict, and can become actors by entering the central space. Rich tension is generated by the combination of these paradigms. The chapter’s second section reads the opening of Book 4, in which the gods watch a duel from their daïs, as a mise en abyme of the spectacle experience offered by the Iliad to its listeners. On the one hand, the combination of duel and daïs shapes audience understanding of the kind of spectacle that they, too, are witnessing, and their own relationship to the action. On the other hand, the gods’ particular responses—both to the events on the ground and to their staging and direction—dramatize possible responses on the part of Homer’s audience.

Language Pangs

2019 ◽  
Author(s):  
Ilit Ferber
Keyword(s):  
The Other ◽  
Literary Texts ◽  
Close Reading ◽  
Philosophical Text ◽  
Origin Of Language ◽  
Pain Expression ◽  
The One ◽  
The Relationship

Language and pain are usually thought of as opposites, the one being about expression and communication, the other destructive, “beyond words,” and isolating. Language Pangs challenges these familiar conceptions and offers a reconsideration of the relationship between pain and language in terms of an essential interconnectedness rather than an exclusive opposition. The book’s premise is that the experience of pain cannot be probed without consideration of its inherent relation to language, and vice versa: understanding the nature of language essentially depends on an account of its relationship with pain. Language Pangs brings together discussions of philosophical as well as literary texts, an intersection especially productive in considering the phenomenology of pain and its bearing on language. The book’s first chapter presents a phenomenology of pain and its relation to language. Chapters 2 and 3 provide a close reading of Herder’s Treatise on the Origin of Language (1772), which was the first modern philosophical text to bring together language and pain, establishing the cry of pain as the origin of language. Herder also raises important claims regarding the relationship between human and animal, sympathy, and the role of hearing in the experience of pain. Chapter 4 is devoted to Heidegger’s seminar (1939) on Herder’s text about language, a relatively unknown seminar that raises important claims regarding pain, expression, and hearing. Chapter 5 focuses on Sophocles’ story of Philoctetes, important to Herder’s treatise, in terms of pain, expression, sympathy, and hearing, also referring to more thinkers such as Cavell and Gide.

scholarly journals Possible worlds and the beauty of God

2010 ◽  
Vol 47 (4) ◽  
pp. 479-492 ◽  
Author(s):  
MARK IAN THOMAS ROBSON
Keyword(s):  
Possible Worlds ◽  
The Other ◽  
The One ◽  
The Mind ◽  
The Relationship

AbstractIn this paper I explore the relationship between the idea of possible worlds and the notion of the beauty of God. I argue that there is a clear contradiction between the idea that God is utterly and completely beautiful on the one hand and the notion that He contains within himself all possible worlds on the other. Since some of the possible worlds residing in the mind of the deity are ugly, their presence seems to compromise God's complete and utter beauty.

Personal Identity, and its Morbid Modifications

1863 ◽  
Vol 8 (44) ◽  
pp. 535-545
Author(s):  
J. Crichton Browne
Keyword(s):  
Personal Identity ◽  
The Other ◽  
Double Consciousness ◽  
Mental Symptoms ◽  
Alteration Of Consciousness ◽  
Points Of View ◽  
Being There ◽  
The One ◽  
The Individual ◽  
The Mind

At the close of our last paper on personal identity we had just turned to the consideration of those apparent morbid divisions of the unity of consciousness which are sometimes, though happily rarely, brought under the notice of medical psychologists. Double consciousness, as we have already hinted, is essentially a result of diseased action, and comprehends a variety of conditions, distinguished from each other by differences in the mental symptoms, and by the relations to each other of the lucid and insane or of the two insane “oscillations.” In all of them, however, there is, for the time, a change, a perversion, or an exaltation, of the mental identity of the individual, of that principle which is, as it were, a centre round which the other faculties of mind revolve, and about which memories cluster. In the intensest forms of double consciousness, so called, mental identity is separated or multiplied into two distinct parts, so that two identities reside in the same individual, while in the milder manifestations of this condition there is a partial division of the same principle, a confusion of two natures in the same person. Where two alternating, though altogether unconnected, lives are lived by the same being, there is afforded, we think, a proof that mental identity is something more than consciousness, and so far independent in its affections. Indeed, it appears to us that the morbid states at present under examination would have been more aptly described as instances of double identity rather than of double consciousness. The phrase double consciousness is a contradiction in terms, for it is manifestly absurd to suppose that the mind can exist in two different states at the same moment. It is also a misleading expression, for this is not, of course, the meaning which it is intended to convey, nor is it at all descriptive of the conditions to which it is applied. These conditions are not necessarily characterised by any alteration of consciousness; that is to say, if consciousness is regarded as having reference simply to the present existing operation of the mind, for the man who inhabits alternately two distinct mental spheres may be perfectly conscious in both of them. In both of them his eyes, his ears, and all his organs of sense, may be normally active. In both of them, with equal accuracy, he may appreciate his surroundings, govern his movements, and express his ideas. In both of them he may be equally conscious, but he is not similarly conscious. The same world is inspected from different points of view in each. In the one it may be the real world, as it is to the perceptions of ordinary people; in the other, the world clad in the unsubstantial figments of a feverish fancy; or in both, a shadowy world, made up of metamorphosed realities. But whatever the metamorphoses may be, they arise, not from errors of perception, but of the personality—perceiving. A man who has passed into the abnormal phase of double consciousness sees all the familiar faces that surround him, but he does not recognise them; he hears loved and well-known voices, but they fall upon his ears as strange sounds; he beholds his household gods, but these do not, as they were wont, awaken emotion in his mind; in short, he regards everything in a new light and apart from former associations. The mind, shorn of its past, begins to learn the lessons of life anew, and perceives every object in relation to its new condition, the result of internal changes. The outward creation becomes subordinate to the inward idea, and is regarded only as it harmonises with the reigning delusion.

»A Line Made by Walking«

2017 ◽  
Vol 62 (2) ◽  
Author(s):  
Christian Moser
Keyword(s):  
Cultural Anthropology ◽  
Literary Texts ◽  
Alternative Form ◽  
Human Beings ◽  
Nature And Culture ◽  
Straight Line ◽  
The One ◽  
The Mind ◽  
The Relationship ◽  
Point Of Departure

Der Beitrag beschäftigt sich mit kulturanthropologischen und literarischen Reflexionen auf den Bewegungsmodus des Gehens. Er diskutiert die Frage, inwieweit das Gehen in diesen Diskursen als Linienpraxis aufgefasst wird. Ausgangspunkt ist die Beobachtung, dass die Kulturanthropologie, die dem aufrechten Gang eine Schlüsselfunktion für die Anthropogenese zuweist, diesen zugleich als Produkt eines ›Begradigungsprozesses‹ markiert und an die dichotomische Gegenüberstellung von Natur und Kultur koppelt. In literarischen Texten, aber auch in neueren ökoanthropologischen Ansätzen wird die Natur-Kultur-Opposition und die damit verbundene Privilegierung der geraden Linie kritisch hinterfragt. Setzt die literarische Peripatetik mithin eine alternative Form der Beziehung zwischen Mensch und Umwelt in Szene? Entwirft sie eine Ökologie des Denkens und Wahrnehmens, die sich jenseits der Natur-Kultur-Dichotomie bewegt? Diese Fragen werden an ausgewählten Fallbeispielen beleuchtet. The essay deals with the peripatetic mode of movement as reflected in cultural anthropology and literature. It asks to what extent these discourses view walking as a practice of line-making. The point of departure is the observation that cultural anthropology ascribes a key role to the upright gait within anthropogenesis while associating it with a process of rectilinearization on the one hand and a sharp dichotomy between nature and culture on the other hand. Certain literary texts and recent approaches in ecologically oriented anthropology have, however, challenged the validity of this dichotomy and the concomitant privilege of the straight line. Does literary peripatetics thus propose an alternative way to grasp the relationship between human beings and the environment? Does it outline a new ecology of the mind that supersedes the binary relation between nature and culture? These questions are discussed with reference to selected case studies.

Syntax and Translatability

Babel ◽  
2006 ◽  
Vol 52 (2) ◽  
pp. 124-132
Author(s):  
Laurence Wong
Keyword(s):  
The Other ◽  
Target Language ◽  
Literary Texts ◽  
Translation Process ◽  
Source Language ◽  
European Languages ◽  
The One ◽  
Syntactic Differences ◽  
The Relationship ◽  
European Family

Abstract This paper discusses the relationship between syntax and translatability, particularly in respect of literary texts. By translatability is meant the degree of ease with which one language lends itself to translation into another language. Through practice in the translation between Chinese and some of the major European languages, such as English, French, Italian, German, Spanish, Latin, and Greek, as well as between the European languages themselves, it can be found that translating between the European languages is much easier than translating between Chinese and any one of the European languages. Of all the factors that determine whether a language translates more readily or less readily into another language, syntactic differences constitute one of the most decisive. This is because the translator is, during the translation process, constantly dealing with syntax in two directions: the syntax of the source language on the one hand and the syntax of the target language on the other. As a result, problems arising from the syntactic differences between the two languages are bound to figure more prominently than those arising from the differences between individual lexical items and phrases or between cultures. In this paper, syntax will be studied and analysed with reference to Chinese, English, French, German, Italian, Spanish, Latin, and Greek texts. Finally, it will be shown that, mainly because of syntactic differences, there is a higher degree of translatability between any two of the above European languages (which are members of the Indo-European family) than between Chinese (which is a member of the Sino-Tibetan family) and any one of these European languages, and that the syntax of any one of these European languages can cope comfortably with Chinese syntax, but not the other way round. Résumé Cet article traite de la relation entre la syntaxe et la traduisibilité, en particulier, en ce qui concerne les textes littéraires. On entend par traduisibilité le degré de facilité avec laquelle une langue se prête à la traduction dans une autre. Par la pratique de la traduction entre le chinois et quelques-unes des principales langues européennes, comme l’anglais, le français, l’italien, l’allemand, l’espagnol, le latin et le grec, ainsi qu’entre les langues européennes mêmes, on s’aperçoit qu’il est beaucoup plus facile de traduire entre les langues européennes qu’entre le chinois et n’importe quelle langue européenne. Parmi tous les facteurs qui déterminent si une langue se traduit plus ou moins aisément dans une autre, les différences syntactiques comptent parmi les plus décisifs. Ceci est dû au fait que le traducteur, pendant le processus de traduction, est constamment confronté à une syntaxe dans deux directions : la syntaxe de la langue source, d’une part, et la syntaxe de la langue cible, d’autre part. En conséquence, les problèmes dus à des différences syntactiques entre les deux langues doivent nécessairement apparaître de manière plus évidente que ceux provenant de différences entre les syntagmes et éléments lexicaux individuels ou entre les cultures. Dans cet article, la syntaxe sera étudiée et analysée en référence à des textes en chinois, anglais, français, allemand, italien, espagnol, latin et grec. Enfin, il montrera qu’en raison des différences syntactiques surtout, la traduisibilité est plus grande entre deux langues européennes précitées quelles qu’elles soient (qui appartiennent à la famille indo-européenne) qu’entre le chinois (qui appartient à la famille sino-tibétaine) et une quelconque de ces langues européennes. Il montrera que la syntaxe de toute langue européenne peut sans difficulté venir à bout de n’importe quelle syntaxe chinoise, mais que l’inverse n’est pas vrai.

scholarly journals “Non vide mei di me chi vide il vero”: l’arte “verace” nel girone dei superbi come mise en abyme dell’arte dantesca nella Commedia

2021 ◽  
Vol 21 (1) ◽  
pp. 55-65
Author(s):  
Maria Maślanka-Soro
Keyword(s):  
Divine Comedy ◽  
The Other ◽  
Mise En Abyme ◽  
Other Hand ◽  
The Divine Comedy ◽  
The One ◽  
The Relationship ◽  
The Universe

“Non vide mei di me chi vide il vero”: L’art “verace” in the circle of proud as a mise en abyme of Dante’s art in the Comedy The purpose of this study is to discuss the problem of meta-poetic themes in the Divine Comedy, focusing in particular on the relationship between God’s art and Dante’s art in the context of the impression caused by the sight of the rock reliefs in the cornice of the proud in the Purgatorio, where the poet, presenting and imitating the art of God, in fact shows the mastery of his own art. The analysis leads to the conclusion that the examples of humility and pride carved on the walls and the rock path – the perfect work of God-the Artist, vibrant with life and called by Dante visibile parlare – are, on the one hand, a mise en abyme of its macroscopic version, which is the Universe created by him, and, on the other hand, a mise en abyme of the universe narrated with the simile perfection by Dante.

scholarly journals Directors’ board, R&D investment and the firm’s performance: Evidence from the French case

2014 ◽  
Vol 10 (2) ◽  
pp. 85-101 ◽  
Author(s):  
Zouari Ghazi ◽  
Zouari-Hadiji Rim
Keyword(s):  
Corporate Governance ◽  
Board Of Directors ◽  
The Other ◽  
Double Structure ◽  
The Board Of Directors ◽  
French Case ◽  
Points Of View ◽  
The One ◽  
The Relationship ◽  
D Investment

This study examines the relationship between the board of directors and firm performance in terms of the level of R&D investment in the French context and some corporate governance points of view. Our model seeks to show whether the level of investment in R&D acts as an intermediary variable between, on the one hand, the dominance of external directors, the double structure and size of the board of directors, and, on the other, productivity. This empirical study is based on a sample of 178 French firms for the period 2008-2012. The results of the linear regression show that the relationship between the variables associated with the composition of the board of directors and the effectiveness of the company depends on the level of investment of the company in R&D.

scholarly journals “The Answer a Philosopher Gives Determines the Entire Shape of his Metaphysics”: The Influence of Plato and Descartes on Rebecca Goldstein’s The Mind-Body Problem

2012 ◽  
pp. 401
Author(s):  
Gustavo Sánchez Canales
Keyword(s):  
Body Problem ◽  
The Other ◽  
Orthodox Jewish ◽  
Philosophical Perspective ◽  
The Holocaust ◽  
Meditations On First Philosophy ◽  
Points Of View ◽  
Mind Body Problem ◽  
The One ◽  
The Mind

To date, Rebecca Goldstein’s The Mind-Body Problem (1983) has been mostly analysed from two points of view. On the one hand, the significance of Renee Feuer’s Orthodox Jewish background in addressing the/her mind-body problem; on the other, the implications of the Holocaust for Noam’s life and, therefore, for the Noam-Renee relationship. Surprisingly, this novel has not been studied from a purely philosophical perspective. For this reason, the present article attempts to shed some light on the protagonist’s mind-body problem by focusing on the references to René Descartes’ Meditations on First Philosophy (1641) and Plato’s Republic, Book VII.

Between cosmopolitanism and nationhood: Italian opera in the early nineteenth century

Modern Italy ◽  
2014 ◽  
Vol 19 (1) ◽  
pp. 53-67 ◽  
Author(s):  
Carlotta Sorba
Keyword(s):  
Nineteenth Century ◽  
The Other ◽  
Early Nineteenth Century ◽  
International Context ◽  
Delicate Balance ◽  
Points Of View ◽  
The One ◽  
Opera Production ◽  
The Relationship ◽  
Romantic Narratives

The revival of interest in music evident in recent historiography has led to an investigation of the specifically transnational nature of musical languages and practices. This article explores the possibility of re-reading in a transnational perspective the classical theme of the relationship between the Risorgimento and opera. It focuses on two different points of view: on the one hand, the construction of the librettos as a delicate balance between European romantic narratives and dramatic themes evoking nationalistic sentiments; on the other, the fact that ideas and practices of the theatre as a vehicle of political mobilisation developed in a broad international context where Mazzini and many other nationalists found inspiration in multinational political experiences and discourses. The article concludes by saying that the meanings of terms such as cosmopolitanism and nationalism need to be carefully weighed when we look at nineteenth-century opera production. Only in the closing decades of the century did genuine competition between national traditions arise, which led in Italy to a veritable ‘obsession’ with ‘Italianness’ in music.

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