Movement through Ruins: Re-experiencing Ancient Baalbek with Jean de la Roque

2020 ◽  
Author(s):  
Edmund Thomas
Keyword(s):  
Detailed Account ◽  
Architectural Description ◽  
The Spectator

This paper considers the account of the ruins of Baalbek in Jean de la Roque’s Voyages de Syrie et du Mont-Liban. Published in 1722, thirty-three years after his visit to Lebanon, it represents the first detailed account of the ruins. The re-attribution of a manuscript letter in Aix-en-Provence confirms that La Roque never visited the site; instead, he seems to have based his account on the drawings of André de Monceaux executed around 1670. Yet, although not based on genuine autopsy, his detailed description presents the architecture from the perspective of a viewer moving among the ruins. This prominent imagination of the motion of the spectator, derived from Lucian’s architectural narratives, constitutes a revolution in the genre of architectural description.

Shared Intentionality, joint commitment, and directed obligation

2020 ◽  
Vol 43 ◽  
Author(s):  
Margaret Gilbert
Keyword(s):  
Detailed Account ◽  
Joint Commitment ◽  
Shared Intentionality

Abstract Tomasello frequently refers to joint commitment, but does not fully characterize it. In earlier publications, I have offered a detailed account of joint commitment, tying it to a sense that the parties form a “we,” and arguing that it grounds directed obligations and rights. Here I outline my understanding of joint commitment and its normative impact.

Charles Francis Adams: diary of a young American taxidermist visiting New Zealand, 1884–1887

2014 ◽  
Vol 41 (1) ◽  
pp. 1-16 ◽  
Author(s):  
B. J. Gill
Keyword(s):  
New Zealand ◽  
San Francisco ◽  
Marine Invertebrates ◽  
Working Life ◽  
Early Years ◽  
Detailed Account ◽  
East Indies ◽  
The Pacific ◽  
Set Up ◽  
White Island

In December 1884 Charles Francis Adams (1857–1893) left Illinois, USA, by train for San Francisco and crossed the Pacific by ship to work as taxidermist at Auckland Museum, New Zealand, until February 1887. He then went to Borneo via several New Zealand ports, Melbourne and Batavia (Jakarta). This paper concerns a diary by Adams that gives a daily account of his trip to Auckland and the first six months of his employment (from January to July 1885). In this period Adams set up a workshop and diligently prepared specimens (at least 124 birds, fish, reptiles and marine invertebrates). The diary continues with three reports of trips Adams made from Auckland to Cuvier Island (November 1886), Karewa Island (December 1886) and White Island (date not stated), which are important early descriptive accounts of these small offshore islands. Events after leaving Auckland are covered discontinuously and the diary ends with part of the ship's passage through the Dutch East Indies (Indonesia), apparently in April 1887. Adams's diary is important in giving a detailed account of a taxidermist's working life, and in helping to document the early years of Auckland Museum's occupation of the Princes Street building.

Sentimental Conviction: Rousseau’s Apologia and the Impartial Spectator

2018 ◽  
Author(s):  
Adam Schoene
Keyword(s):  
The Self ◽  
Careful Study ◽  
Moral Sentiments ◽  
Impartial Spectator ◽  
Direct Discourse ◽  
Rhetorical Device ◽  
The Spectator ◽  
Theory Of Moral Sentiments

Where Adam Smith’s The Theory of Moral Sentiments (1759) extends the domain of spectatorship beyond the ocular realm and claims that we must become the impartial spectators of our own character and conduct, Jean-Jacques Rousseau’s Rousseau juge de Jean-Jacques, Dialogues (1776) also attempts to probe beyond the visual surface to examine through careful study the constitution of another, who is actually himself. This chapter traces a Smithian sentiment in the radical division of the self dramatized in Rousseau’s fictional autobiographical Dialogues, emphasizing Rousseau’s attempt to liberate his own gaze and render an unbiased judgment upon himself. Although Rousseau does not write in direct discourse with Smith, he applies a strikingly similar rhetorical device to the spectator within the dialogic structure of his apologia. Reading Rousseau alongside Smith resituates the Dialogues not as a work of madness, as it has frequently been interpreted, but rather as an unrelenting struggle for justice.

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.

NATURAL SCIENTISTS AND RUSSIAN SCIENTIFIC FILMMAKING IN THE PRE-REVOLUTIONARY PERIOD (SCIENCE DIVISION OF THE A.A. KHANZHONKOV COMPANY)

2020 ◽  
Vol 42 (3) ◽  
pp. 355-368
Author(s):  
YEVGENIY ALEKSANDROV
Keyword(s):  
Information Transfer ◽  
Delayed Reaction ◽  
Russian Scientific ◽  
Physical Problems ◽  
Education Community ◽  
Future System ◽  
The Future ◽  
The Spectator ◽  
Revolutionary Period

The aim of the article is to recall the fi steps of comprehension by the scientific community of possibilities of a newly born means of the reality reflection. The means was initially oriented for obtaining reliable information and supposing a delayed reaction of the spectator in the process of communication. Recollection and understanding become more important under the distance education condition. Pre-revolutionary Russia lived anticipating changes, and the filmmaking was considered by the society as one of those progressive phenomena evidencing the coming of a new age. The scientists’ activity during the development of scientific fi in pre-revolutionary Russia was long hushed up and wasn’t considered as forming a basis for the future system of educational audio-visual communication. In this process there participated striking, creative personalities, mostly belonged to the community of Imperial Moscow University, which activity was during the age of changes. The significant contribution of pleiad of eminent scientists’ activity to the new direction formation was a reason to unify in one paper both their whole professional life data and information about their time-limited period of scientific fi In the future a more profound study of their achievements are considered to be promising. In the introduction the anterior period of the Russian fi appearance, where the scientific and education community of Russia was exploring the possibilities of a new means of information transfer for education purposes, is considered. Two main units are dedicated to the role of scientists in the development of scientific filmmaking for research and popularization of biomedical and physical problems.

The Influence of Temporal Distance on the Spectator Motivation

2019 ◽  
Vol 24 (5) ◽  
pp. 36-48
Author(s):  
Dong Ryul Lee ◽  
Jihyeon Oh ◽  
Yukyoum Kim
Keyword(s):  
Temporal Distance ◽  
The Spectator

Lorenzo at ‘The Theatre’ Meeting actors and audience

2018 ◽  
pp. 13-38
Author(s):  
N. Ceramella
Keyword(s):  
Social Structure ◽  
Social Situation ◽  
The Other ◽  
Detailed Account ◽  
The Social ◽  
New Perspective ◽  
The One

The article considers two versions of D. H. Lawrence’s essay The Theatre: the one which appeared in the English Review in September 1913 and the other one which Lawrence published in his first travel book Twilight in Italy (1916). The latter, considerably revised and expanded, contains a number of new observations and gives a more detailed account of Lawrence’s ideas.Lawrence brings to life the atmosphere inside and outside the theatre in Gargnano, presenting vividly the social structure of this small northern Italian town. He depicts the theatre as a multi-storey stage, combining the interpretation of the plays by Shakespeare, D’Annunzio and Ibsen with psychological portraits of the actors and a presentation of the spectators and their responses to the plays as distinct social groups.Lawrence’s views on the theatre are contextualised by his insights into cinema and its growing popularity.What makes this research original is the fact that it offers a new perspective, aiming to illustrate the social situation inside and outside the theatre whichLawrenceobserved. The author uses the material that has never been published or discussed before such as the handwritten lists of box-holders in Gargnano Theatre, which was offered to Lawrence and his wife Frieda by Mr. Pietro Comboni, and the photographs of the box-panels that decorated the theatre inLawrence’s time.

The Proximity of Other Skins

2019 ◽  
Author(s):  
Celine Parreñas Shimizu
Keyword(s):  
United States ◽  
South Korea ◽  
The United States ◽  
The Philippines ◽  
The Other ◽  
The West ◽  
Pain And Suffering ◽  
The Spectator ◽  
Existing Frames ◽  
The Voice

Transnational films representing intimacy and inequality disrupt and disgust Western spectators. When wounded bodies within poverty entangle with healthy wealthy bodies in sex, romance and care, fear and hatred combine with desire and fetishism. Works from the Philippines, South Korea, and independents from the United States and France may not be made for the West and may not make use of Hollywood traditions. Rather, they demand recognition for the knowledge they produce beyond our existing frames. They challenge us to go beyond passive consumption, or introspection of ourselves as spectators, for they represent new ways of world-making we cannot unsee, unhear, or unfeel. The spectator is redirected to go beyond the rapture of consuming the other to the rupture that arises from witnessing pain and suffering. Self-displacement is what proximity to intimate inequality in cinema ultimately compels and demands so as to establish an ethical way of relating to others. In undoing the spectator, the voice of the transnational filmmaker emerges. Not only do we need to listen to filmmakers from outside Hollywood who unflinchingly engage the inexpressibility of difference, we need to make room for critics and theorists who prioritize the subjectivities of others. When the demographics of filmmakers and film scholars are not as diverse as its spectators, films narrow our worldviews. To recognize our culpability in the denigration of others unleashes the power of cinema. The unbearability of stories we don’t want to watch and don’t want to feel must be borne.

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