scholarly journals Miłosz the Visionary: His American experience in Visions from San Francisco Bay

2020 ◽  
Vol 17 (1) ◽  
pp. 40-51
Author(s):  
Ania Grudzien

Nobel Prize winner Czesław Miłosz is one of the most influential poets, prosiest, philosophers, and diplomats, his works spanning two centuries and multiple continents. Born in 1911, in what is now modern-day Lithuania, Miłosz spent most of his professional life in Europe including Poland and France. In 1960, fleeing the power of the communist regime, he found political asylum in California, teaching in the Slavic languages department at the University of California Berkley. The following paper examines Czesław Miłosz’s perspective on the radical West culture of the 1960s and ‘70s in his book Visions from San Francisco Bay. This work brings attention to previously unnoticed English mistranslations. I propose a new translation to reflect Miłosz’s original meaning, which changes the way English readers interpret his American experience as well as his book Visions from San Francisco Bay. Specifically, I consider two sets of Miłosz’s pros and cons which he crafted to describe the essence of his American experience, and one set of pros and cons I crafted from his writing to frame his experience. These juxtaposing pros and cons ultimately led him to the conclusion of the importance of richly interpreting one’s reality, especially in a time of change and uncertainty. By way of comparative literary analysis of Miłosz’s Visions and selected poems, we change the way we traditionally think of the ‘60s and ‘70s, realizing that instead of being a time of explosive interpretive energy, this was a time when Americans fell away from rich interpretation of their metaphysical realities.

Author(s):  
Ausettua Amor Amenkum

Halifu Osumare presents a regional history of African dance in the United States, focusing on the Oakland-San Francisco Bay Area from the 1960s to the present. Beginning with the first cohort of local Dunham-trained dance instructors in the 1950s and 1960s to more contemporary instructors hailing directly from the African continent. She analyzes how African and African diasporic dance traditions became important fixtures in the Oakland-San Francisco Bay Area, becoming powerful tools in teaching social justice through various community programs and dance companies that extended from Ghana, the Congo, Senegal, and Liberia into that region. Osumare’s research traces the formation of artistic lineages, while offering insights about the local impact of African dance instruction as a narrative history of how the Bay Area became a regional powerhouse in the African dance field.


2019 ◽  
Vol 137 (1) ◽  
pp. 84-104
Author(s):  
Roghayeh Farsi

Abstract Spatial positioning strategies and social actors representation have been introduced and discussed in visual and political texts. This paper offers an analysis of these strategies in a literary text, Julian Barnes’s The Sense of an Ending. The main objectives of this study are (a) to disclose the way(s) the narrator-autobiographer positions himself and others in his life story as social actors, (b) to investigate whether these strategies can explain the involved social actors’ motivations in their interactions, and (c) to pinpoint the pros and cons of this perspective for literary analysis. The paper uses social actors representation and spatial positioning theories provided by Langacker, Hart, van Leeuwen, and Chilton along with Jahn’s notions of focalization. The analysis of Barnes’s fictional autobiography pinpoints the precision spatial positioning strategies confer on literary focalization. Simultaneously, both social actors representation and spatial positioning strategies fail to attend to the gaps the narrative has due to its symbolic overtones or ambiguous repetitions.


Author(s):  
Sheigla Murphy ◽  
Paloma Sales ◽  
Micheline Duterte ◽  
Camille Jacinto

Author(s):  
Hilary Radner ◽  
Alistair Fox

In this section of the interview, Bellour describes how he began to engage in film analysis in the 1960s, beginning with a sequence from Alfred Hitchcock’s The Birds, with the aim of establishing the way it worked as a “text.” He proceeds to describe his personal encounters with major figures like Roland Barthes, Claude Lévi-Strauss, Michel Foucault, and his friendship with Christian Metz, suggesting how his interchanges with them helped to shape his own thinking, and how it diverged from theirs.


2020 ◽  
Vol 22 (3) ◽  
pp. 341-361
Author(s):  
Gonzalo Grau-Pérez ◽  
J. Guillermo Milán

In Uruguay, Lacanian ideas arrived in the 1960s, into a context of Kleinian hegemony. Adopting a discursive approach, this study researched the initial reception of these ideas and its effects on clinical practices. We gathered a corpus of discursive data from clinical cases and theoretical-doctrinal articles (from the 1960s, 1970s and 1980s). In order to examine the effects of Lacanian ideas, we analysed the difference in the way of interpreting the clinical material before and after Lacan's reception. The results of this research illuminate some epistemological problems of psychoanalysis, especially the relationship between theory and clinical practice.


2020 ◽  
Vol 14 (2) ◽  
pp. 44-66
Author(s):  
José Ramón Lizárraga ◽  
Arturo Cortez

Researchers and practitioners have much to learn from drag queens, specifically Latinx queens, as they leverage everyday queerness and brownness in ways that contribute to pedagogy locally and globally, individually and collectively. Drawing on previous work examining the digital queer gestures of drag queen educators (Lizárraga & Cortez, 2019), this essay explores how non-dominant people that exist and fluctuate in the in-between of boundaries of gender, race, sexuality, the physical, and the virtual provide pedagogical overtures for imagining and organizing for new possible futures that are equitable and just. Further animated by Donna Haraway’s (2006) influential feminist post-humanist work, we interrogate how Latinx drag queens as cyborgs use digital technologies to enhance their craft and engage in powerful pedagogical moves. This essay draws from robust analyses of the digital presence of and interviews with two Latinx drag queens in the San Francisco Bay Area, as well as the online presence of a Xicanx doggie drag queen named RuPawl. Our participants actively drew on their liminality to provoke and mobilize communities around socio-political issues. In this regard, we see them engaging in transformative public cyborg jotería pedagogies that are made visible and historicized in the digital and physical world.


Author(s):  
Timur Gimadeev

The article deals with the history of celebrating the Liberation Day in Czechoslovakia organised by the state. Various aspects of the history of the holiday have been considered with the extensive use of audiovisual documents (materials from Czechoslovak newsreels and TV archives), which allowed for a detailed analysis of the propaganda representation of the holiday. As a result, it has been possible to identify the main stages of the historical evolution of the celebrations of Liberation Day, to discover the close interdependence between these stages and the country’s political development. The establishment of the holiday itself — its concept and the military parade as the main ritual — took place in the first post-war years, simultaneously with the consolidation of the Communist regime in Czechoslovakia. Later, until the end of the 1960s, the celebrations gradually evolved along the political regime, acquiring new ritual forms (ceremonial meetings, and “guards of memory”). In 1968, at the same time as there was an attempt to rethink the entire socialist regime and the historical experience connected with it, an attempt was made to reconstruct Liberation Day. However, political “normalisation” led to the normalisation of the celebration itself, which played an important role in legitimising the Soviet presence in the country. At this stage, the role of ceremonial meetings and “guards of memory” increased, while inventions released in time for 9 May appeared and “May TV” was specially produced. The fall of the Communist regime in 1989 led to the fall of the concept of Liberation Day on 9 May, resulting in changes of the title, date and paradigm of the holiday, which became Victory Day and has been since celebrated on 8 May.


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