scholarly journals “La Questione Animale” di Anna Maria Ortese: Alonso e i visionari e l’etica del soccorso // “The Animal Question” and Anna Maria Ortese. Alonso and The Visionaries and the Ethics of Piety and Care // La cuestión animal y Anna Maria Ortese. Alonso y los visionarios y la ética de la piedad y del “socorro”

2016 ◽  
Vol 7 (2) ◽  
pp. 134-148
Author(s):  
Rossella Di Rosa
Keyword(s):  
Twentieth Century ◽  
Moral Community ◽  
The Novel ◽  
Deleuze And Guattari ◽  
Theoretical Frameworks ◽  
Anna Maria Ortese ◽  
The Difference ◽  
Siglo Xx ◽  
Animal Question ◽  
Entire Planet

      L’elaborato si propone di analizzare il pensiero ecologico di Anna Maria Ortese, concentrandosi su Alonso e i visionari, testo che, seppur trascurato dal pubblico e dalla critica, può essere considerato il manifesto dell’intera poetica ortesiana. Il credo dell’autrice è infatti rivolto ad annullare la differenza tra umano e non umano, a combattere per l’inclusione dell’animale nel circolo etico, a difendere i diritti di tutti gli esseri viventi e non viventi, alla ricerca di una forma di pensiero più inclusiva e che si fondi su nuovi valori come l’amore, la pietà, la partecipazione al dolore e il “soccorso” a tutte le creature e alla Terra stessa. Propongo di rileggere Alonso e i visionari da una prospettiva ecologica al fine di dimostrare non solo come l’autrice partecipi al dibattito su “La questione animale” al centro degli studi sull’animalità, ma come anticipi spesso riflessioni e considerazioni di filosofi e pensatori del Novecento, tra cui Agamben, Cavalieri, Derrida, Deleuze e Guattari. Abstract      This essay aims to analyze Anna Maria Ortese’s ecological thought, which significantly distinguishes her last novel, Alonso e i visionari. I believe that the novel, which has been overlooked both by critics and by readers, can be considered as the manifesto of the author’s poetics. Indeed, it summarizes the writer’s tenets, devoted to annulling the difference between human and nonhuman world, to struggling for the animal’s inclusion in the moral community, to proposing an understanding of intelligence that combines reason, compassion, and care for both human and nonhuman beings as well as for the entire planet Earth itself. I suggest reading the novel from an ecocritical perspective to illustrate how Ortese anticipates Braidotti’s posthuman thought, and provides original theoretical frameworks and criteria for exploring fundamental issues of “The Animal Question” even before such themes commanded the attention of prominent twentieth-century philosophers such as Agamben, Cavalieri, Derrida, Deleuze, and Guattari. Resumen      Este ensayo analiza el pensamiento ecológico de Anna Maria Ortese y examina la novela Alonso e i visionari, que puede ser considerada como el manifiesto de la obra ortesiana, aunque la obra no tuvo gran éxito de público ni de crítica en el momento de su publicación. El credo de la autora pretende invalidar la diferencia entre humano y no humano, luchar por la inclusión de los animales en el círculo ético, defender los derechos de todos los seres, buscar una tipología de pensamiento más inclusiva y que se base no solo en la razón sino en nuevos valores como el amor, la piedad, la participación en el dolor y la ayuda a todas las criaturas que lo necesiten, lo que la autora llama emblemáticamente “soccorso”. Mi trabajo sugiere una lectura de la novela desde una perspectiva ecocrítica para mostrar que Ortese participa en el debate conocido como “La cuestión de los animales,” y de la misma manera, anticipa el pensamiento de Braidotti sobre el posthumano y algunas consideraciones de destacados filósofos del siglo XX, como Agamben, Cavalieri, Derrida, Deleuze y Guattari.

Minor Nation

2010 ◽  
Vol 24 (3) ◽  
pp. 379-398 ◽  
Author(s):  
Alexander Pershái
Keyword(s):  
Twentieth Century ◽  
Eastern Europe ◽  
Nation Building ◽  
Eastern European ◽  
Deleuze And Guattari ◽  
Theoretical Frameworks ◽  
Post Colonial

In the twentieth century, nationalism has become an unwritten yet strong hegemonic rule that prescribes and defines cultural configurations of statehood. In the context of post-socialist and post-colonial transformations in “expanding” Eastern Europe, nation building is a complicated and incoherent process: the nation’s canonic attributes may contradict the cultural and historical “circumstances” of the development of a particular nation. This article questions a complicated dynamic between theoretical frameworks of nationalism and their applications in Eastern European states, such as in Belarus. More specifically, it argues against the discursive conceptualization of Belarus as a “nonexistent” or “undeveloped” nation. This article suggests rethinking nation building in Belarus in relation to the notion of major/minor developed by Deleuze and Guattari. The author implies that the unusual mode of Belarusian nationalism is not only a part of a struggle for domination between different intellectual groups in Belarus; it is also an issue of relying on traditional scholarly paradigms of nationalism that may no longer suffice.

scholarly journals La ventana como vitrina del cortejo o umbral de las emociones, en la novela Ifi genia, de Teresa de la Parra

2016 ◽  
Vol 6 (2) ◽  
pp. 75
Author(s):  
Lisandro Penagos Cortés
Keyword(s):  
Twentieth Century ◽  
The Novel ◽  
Early Twentieth Century ◽  
The World ◽  
Teresa De La Parra ◽  
Siglo Xx ◽  
Sobre Todo

Resumen: Se analiza la novela de la venezolanaTeresa de la Parra Ifi genia, como una obra que planteópor primera vez en su país el drama de la mujer frentea una sociedad que no le permitía tener voz propia. Estetrabajo se centra en el manejo de los espacios en dichaobra, en especial la imagen de la ventana y su signifi cadoalgo ambiguo –pues permite observar el exterior perotambién expone parte de nuestra intimidad– imagen en lacual se confi gura la doble condición de abrirse y cerrarseal mundo. Esta imagen sugiere aspectos de la relación dela protagonista, María Eugenia, con la nueva sociedadvenezolana de principios del siglo XX, en algunos de susámbitos, sobre todo el cultural, el artístico y el urbano,y se convierte en emblema de sus ansias de libertad y delas frustraciones que sufre.Palabras clave: novela, Teresa de la Parra, Ifi genia,mujer, siglo XXThe Window as Showcase for Courtship and Thresholdfor Emotions in Ifi genia, novel by Teresa de la ParraAbstract: This paper analyzes the novel Ifi genia byTeresa de la Parra, Venezuelan, as a work that posedfor the fi rst time in her country the drama of woman ina society where she is not allowed a voice of her own.It centers on the management of the setting in the work,especially the image of the window and its somewhatambiguous meaning –since it allows us to see outside butalso exposes part of our intimacy—an image in which wesee the confi gurations of the dual condition of opening andclosing to the world. This image suggests aspects of therelation the protagonist, Maria Eugenia, has to the newVenezuelan society of early Twentieth Century, in some ofits fi elds, above all the cultural, artistic and urban, andbecomes an emblem both of her yearning for freedom andthe frustrations she endures.Key words: novel, Teresa de la Parra, Ifi genia, women,Twentieth Century

scholarly journals The first Arab novel in English: The book of Khalid

2017 ◽  
Author(s):  
Suheil Bushrui
Keyword(s):  
Twentieth Century ◽  
The Novel ◽  
East And West ◽  
Siglo Xx

Abstract: The Book of Khalid, written by the Lebanese writer Ameen Rihani (1876- 1949), illustrates the author’s concern for reconciling the culture and values of East and West; the novel is central to understanding his thoughts on the great issues which shaped twentieth-century history, as well as a work of lasting wisdom, over a hundred years after its fi rst appearance. Like Rihani himself, who reconciled two disparate cultures more than almost any other writer of the time, Khalid, having experienced America (and considered its strengths and weaknesses) during a stay of several years, returns to develop a philosophy that engages the Arab public directly. Resumen: The Book of Khalid, escrito por el autor libanés Ammen Rihani (1876-1949), ilustra el interés del autor por reconciliar la cultura y los valores de oriente y occidente; la novela es fundamental para entender sus ideas sobre los grandes temas que confi guraron la historia del siglo XX, además de ser una obra de sabiduría perdurable, un siglo después de su primera aparición. Al igual que Rihani mismo, quien reconciliaba dos culturas distantes más que casi ningún otro escritor de la época, Khalid, habiendo tenido la experiencia de América (y considerado sus ventajas y debilidades) durante una estadía de varios años, vuelve para desarrollar una fi losofía que atrae directamente al público árabe.

scholarly journals Entre la Historia y la ficción. Algunos temas en Yo el Supremo de Augusto Roa Bastos.

2015 ◽  
Vol 5 (1) ◽  
Author(s):  
Alejandro Peña Arroyave
Keyword(s):  
Twentieth Century ◽  
Historical Novel ◽  
Point Of View ◽  
The Novel ◽  
Augusto Roa Bastos ◽  
Absolute Power ◽  
Writing Problems ◽  
Starting Point ◽  
Novela Historica ◽  
Siglo Xx

Resumen: El escrito presenta un acercamiento a la novela Yo el supremo del escritor paraguayo Augusto Roa Bastos. En un primer momento se toma como punto de partida la filiación de la narrativa de Roa Bastos con el humanismo del existencialismo del siglo XX, entendiendo su labor de escritor en compromiso con el dolor humano y con su propio tiempo. A la luz de esto, en los siguientes momentos del escrito se abordan problemas tales como la obsesión con el poder absoluto y la anulación de la otredad caracterizada por un discurso en el que las distintas voces son absorbidas en el monólogo del dictador y que por ello mismo quedan deformadas. Desde dicha deformación surge sin embargo una particular relación entre la ficción y la narración histórica. Con ello se indicaría, desde el punto de vista de la novela histórica, que la Historia no está exenta de la ficción, y que sin duda ésta tiene mucho que iluminar acerca de la Historia. Abstract: The writing there presents an approximation to the novel I, the Supreme one of the Paraguayan writer Augusto Roa Bastos. At first takes as its starting point the parentage of the narrative of Roa Bastos with humanism of existentialism of the twentieth century, understanding his writing in commitment to human pain and his own time. From this, at the following times of writing problems such as obsession with absolute power and cancellation of otherness characterized by a speech in which different voices are absorbed in the monologue of the dictator are addressed and therefore thereof are deformed. From the above mentioned deformation a particular relation arises nevertheless between the fiction and the historical novel. Thereby would indicate that, from the point of view of the historical novel, the History is not exempt from the fiction, and that undoubtedly this one has great that to illuminate brings over of the History.

Coda: The Rosetta Stone

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
Twentieth Century ◽  
New Media ◽  
Digital Media ◽  
The Novel ◽  
Digital Code ◽  
Media Technologies ◽  
Rosetta Stone ◽  
The World ◽  
Western Imagination ◽  
Origin Point

Hieroglyphs have persisted for so long in the Western imagination because of the malleability of their metaphorical meanings. Emblems of readability and unreadability, universality and difference, writing and film, writing and digital media, hieroglyphs serve to encompass many of the central tensions in understandings of race, nation, language and media in the twentieth century. For Pound and Lindsay, they served as inspirations for a more direct and universal form of writing; for Woolf, as a way of treating the new medium of film and our perceptions of the world as a kind of language. For Conrad and Welles, they embodied the hybridity of writing or the images of film; for al-Hakim and Mahfouz, the persistence of links between ancient Pharaonic civilisation and a newly independent Egypt. For Joyce, hieroglyphs symbolised the origin point for the world’s cultures and nations; for Pynchon, the connection between digital code and the novel. In their modernist interpretations and applications, hieroglyphs bring together writing and new media technologies, language and the material world, and all the nations and languages of the globe....

PENGAKUAN CALABAI: SEBUAH ANALISIS INTERTEKSTUAL NOVEL PASUNG JIWA KARYA OKKY MADASARI DAN NOVEL CALABAI KARYA PEPI AL-BAYQUNIE

Jurnal KATA ◽  
2018 ◽  
Vol 2 (1) ◽  
pp. 50
Author(s):  
Krisna Aji Kusuma ◽  
Herman J Waluyo ◽  
Nugraheni Eko Wardani
Keyword(s):  
Content Analysis ◽  
Analysis Data ◽  
Qualitative Approach ◽  
The Novel ◽  
Research Results ◽  
Self Actualization ◽  
Similarities And Differences ◽  
The Difference ◽  
Descriptive Qualitative

<p><em>This study aims to describe the intertextuality relationship between the novel Pasung Jiwa by Okky Madasari and Calabai by Pepi Al-Bayqunie. The type of research is descriptive qualitative approach using content analysis. Data are collected by inventorying events that are similarities and differences, specifications on the characters, settings, plots, and themes of both text. The research results indicate that there are similar themes on the two novels, the theme of self actualization in addition with the theme of family and friendship. The same characterization are also used by both author, masculine figures with feminine soul characters. The difference between the two novels lies on the plot and setting. Pasung Jiwa uses progressive plot and Calabai uses a flash-back plot.. Okky Madasari takes Java Island as the background in the novel Pasung Jiwa, while the novel Calabai, Pepi Al-Bayqunie using the setting of Sulawesi Island. The basis of the similarity of theme and characterization supported by the similirity of events in the story shows the existence of intertextual relationship between the two novels. As a previously published work, the novel Pasung Jiwa by Okky Madasari is a hipogram and novel Calabai by Pepi A-Bayqunie as a transformational text. On the theme and characterization, the transformation of Calabai forward the hypogram, while in the plot and setting deviates his hypogram, Pasung Jiwa.</em></p><p>Penelitian ini bertujuan untuk mendeskripsikan hubungan intertekstualitas antara novel Pasung Jiwa karya Okky Madasari dan novel Calabai karya Pepi Al-Bayqunie. Jenis penelitian ini adalah deskriptif kualitatif dengan pendekatan konten analisis. Data dikumpulkan dengan menginventariskan peristiwa yang merupakan persamaan dan perbedaan, spesifikasi pada tokoh, latar, alur, dan tema dari kedua teks. Hasil penelitian ini menunjukkan bahwa terdapat kesamaan tema pada kedua novel, yaitu tema aktualisasi diri, ditambah dengan tema keluarga dan persahabatan. Penokohan yang sama juga digunakan oleh kedua penulis, yaitu tokoh maskulin dengan karakter jiwa feminin. Perbedaan kedua novel terletak pada alur dan latar. Pasung Jiwa menggunakan alur maju dan Calabai menggunakan alur campuran. Latar dalam novel Pasung Jiwa, Okky Madasari mengambil latar Pulau Jawa, sedangkan novel Calabai, Pepi Al-Bayqunie menggunakan latar Pulau Sulawesi. Dasar kesamaan tema dan penokohan didukung kesamaan peristiwa-peristiwa dalam cerita menunjukkan adanya hubungan intertekstual antara kedua novel. Sebagai karya yang terbit terlebih dahulu menjadikan novel Pasung Jiwa karya Okky Madasari adalah hipogram dan novel Calabai karya Pepi Al-Bayqunie sebagai teks transformasi. Pada tema dan penokohan, transformasi Calabai meneruskan hipogram, sedangkan pada alur dan latar menyimpangi hipogramnya, Pasung Jiwa.</p>

Materializing Ulysses

2018 ◽  
Author(s):  
Chris Forster
Keyword(s):  
Twentieth Century ◽  
Film Adaptation ◽  
The Novel ◽  
Perceived Power

This chapter compares the reception of Joyce’s 1922 Ulysses with that of Joseph Strick’s 1967 film adaptation of the novel. Although Ulysses had been legally publishable in England for decades, Strick’s film still encountered censorship from the British Board of Film Censors. The chapter argues that Joyce’s novel, for all its obscenity and provocation, mitigated its threat by foregrounding its own printedness, allying its fate to the waning power of print as a bearer of obscenity. Strick’s film, by contrast, activated the perceived power of film. The contrast of the two versions of Ulysses, which are often identical in language, thus offers a valuable window on how obscenity changed across media through the twentieth century. In making this argument, the chapter surveys print strategies of censorship, including the asterisk, and how these strategies operated in a range of works.

Rhythm

2018 ◽  
Author(s):  
Lexi Eikelboom
Keyword(s):  
Social Sciences ◽  
Twentieth Century ◽  
Human Existence ◽  
Embodied Experience ◽  
Giorgio Agamben ◽  
The Social ◽  
Contemporary Philosopher ◽  
The Subject ◽  
The Difference ◽  
Theoretical Category

This book argues that, as a pervasive dimension of human existence with theological implications, rhythm ought to be considered a category of theological significance. Philosophers and theologians have drawn on rhythm—patterned movements of repetition and variation—to describe reality, however, the ways in which rhythm is used and understood differ based on a variety of metaphysical commitments with varying theological implications. This book brings those implications into the open, using resources from phenomenology, prosody, and the social sciences to analyse and evaluate uses of rhythm in metaphysical and theological accounts of reality. The analysis relies on a distinction from prosody between a synchronic approach to rhythm—observing the whole at once and considering how various dimensions of a rhythm hold together harmoniously—and a diachronic approach—focusing on the ways in which time unfolds as the subject experiences it. The text engages with the twentieth-century Jesuit theologian Erich Przywara alongside thinkers as diverse as Augustine and the contemporary philosopher Giorgio Agamben, and proposes an approach to rhythm that serves the concerns of theological conversation. It demonstrates the difference that including rhythm in theological conversation makes to how we think about questions such as “what is creation?” and “what is the nature of the God–creature relationship?” from the perspective of rhythm. As a theoretical category, capable of expressing metaphysical commitments, yet shaped by the cultural rhythms in which those expressing such commitments are embedded, rhythm is particularly significant for theology as a phenomenon through which culture and embodied experience influence doctrine.

Publish the Picture at Your Peril: Visual Ideas and the Commercial Apparatus of Life Magazine

2021 ◽  
Vol 20 (2) ◽  
pp. 301-324
Author(s):  
Joshua S. Schwartz
Keyword(s):  
Twentieth Century ◽  
Intellectual Property ◽  
Consumer Goods ◽  
Social Behaviors ◽  
Early Years ◽  
Business Practices ◽  
The Novel ◽  
Life Magazine ◽  
Advertising Revenue ◽  
Manufacturing Company

AbstractIn the early years of the twentieth century, Life magazine had only approximately one hundred thousand subscribers, yet its illustrated images (like the Gibson Girl) significantly influenced fashion trends and social behaviors nationally. Its outsized influence can be explained by examining the magazine’s business practices, particularly the novel ways in which it treated and conceptualized its images as intellectual property. While other magazines relied on their circulation and advertising revenue to attain profitability, Life used its page space to sell not only ads, but also its own creative components—principally illustrations—to manufacturers of consumer goods, advertisers, and consumers themselves. In so doing, Life’s publishers relied on a developing legal conception of intellectual property and copyright, one that was not always amenable to their designs. By looking at a quasi-litigious disagreement in which a candy manufacturing company attempted to copy one of the magazine’s images, this article explores the mechanisms behind the commodification and distribution of mass-circulated images.

The Argentine Allusion: On the Significance of the Southern Cone in Early Twentieth-Century São Paulo

2021 ◽  
Vol 78 (1) ◽  
pp. 61-87
Author(s):  
James P. Woodard
Keyword(s):  
Twentieth Century ◽  
Latin American ◽  
Southern Cone ◽  
Sao Paulo ◽  
Spanish America ◽  
São Paulo ◽  
Periodical Press ◽  
Home State ◽  
American Intellectual ◽  
The Difference

AbstractThis article examines a much cited but little understood aspect of the Latin American intellectual and cultural ferment of the 1910s and 1920s: the frequency with which intellectuals from the southeastern Brazilian state of São Paulo referred to developments in post Sáenz Peña Argentina, and to a lesser extent in Uruguay and Chile. In books, pamphlets, speeches, and the pages of a vibrant periodical press—all key sources for this article—São Paulo intellectuals extolled developments in the Southern Cone, holding them out for imitation, especially in their home state. News of such developments reached São Paulo through varied sources, including the writings of foreign travelers, which reached intellectuals and their publics through different means. Turning from circuits and sources to motives and meanings, the Argentine allusion conveyed aspects of how these intellectuals were thinking about their own society. The sense that São Paulo, in particular, might be “ready” for reform tending toward democratization, as had taken place in Argentina, Uruguay, and Chile, was accompanied by a belief in the difference of their southeastern state from other Brazilian states and its affinities with climactically temperate and racially “white” Spanish America. While these imagined affinities were soon forgotten, that sense of difference—among other legacies of this crucial period—would remain.

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