Literature and Film Art

Tekstualia ◽  
2020 ◽  
Vol 1 (60) ◽  
pp. 3-8
Author(s):  
Marcin Czardybon

This editorial aims to cover the content of the presented issue of „Tekstualia”. It provides an introduction to the multifaceted problem of the relationships between literature and cinematic art. The text (according to the remarks of Alain Badiou, Peter Greenaway, Andre Bazin, Seweryna Wysłouch, etc.) discusses the widespread thesis of, allegedly diminishing, subservience of the cinematography to the literature’s domain. Furthermore, this article offers an overview of the scientific papers (and other publications) included in the „Tekstualia” issue.

2016 ◽  
Vol 5 (10) ◽  
pp. 45
Author(s):  
Fellipe Eloy Teixeira Albuquerque

Com carga horária de 60 horas a disciplina eletiva do curso de Mestrado Acadêmico em História da Arte, da Unifesp - campus de Guarulhos, possibilitou muitas questões acerca de como a relação entre Arte e Filosofia foram apreendidas durante a História. A consulta de diversos autores como Alain Badiou, Martin Heidegger, Giorgio Agambem e Jacques Rancière ajudaram na compreensão desse processo, assim como a produção artística de propositores como Vik Muniz, Peter Greenaway e Ngwenya. Para a avaliação final desta disciplina os professores responsáveis solicitam a elaboração de um texto que, a partir das referências trabalhadas em aula, ajudassem o aluno a formular um conceito de Arte. Esse artigo vem reunir as principais reflexões levantadas durante todo o processo de avaliação da disciplina que conceituou uma possibilidade de entender a História da ArtePalavras-chave: avaliação, arte, filosofia. REFLECTIONS ON THE FINAL EVALUATION OF A DISCIPLINE ELECTIVEAbstractWith a workload of 60 hours to elective Academic Master's course in History of Art, Unifesp - Campus Guarulhos, enabled many questions about how the relationship between Art and Philosophy were seized during history. Consultation of various authors such as Alain Badiou, Martin Heidegger, Giorgio Agambem and Jacques Rancière helped in understanding this process, as well as the artistic production of proposers as Vik Muniz, Peter Greenaway and Ngwenya. For the final evaluation of this discipline the responsible teachers requested the preparation of a text which, from references worked in class, help the student to formulate a concept of Art. This article is to bring together the main reflections raised during the evaluation process of discipline that conceptualized a chance to understand the History of Art.Key-words: evaluation, art, philosophy.


BDJ ◽  
1996 ◽  
Vol 181 (6) ◽  
pp. 226-227
Author(s):  
D McGowan
Keyword(s):  

BDJ ◽  
1996 ◽  
Vol 181 (3) ◽  
pp. 114-115
Author(s):  
F Smales
Keyword(s):  

2006 ◽  
Vol 33 (2) ◽  
pp. 267-281
Author(s):  
Giuseppe Manganelli ◽  
Andrea Benocci ◽  
Valeriano Spadini

Roberto Massimo Lawley (1818–1881) was a non-academic naturalist who made a major contribution to the Tuscan scientific community of his time. He was involved in the foundation of two societies (Società Italiana di Malacologia, 1874–1899; Società Toscana di Scienze Naturali, 1874–today) and a publishing house (Biblioteca Malacologica Italiana). He first devoted himself to malacology, but Neogene fossil fishes became his main interest. Over the years, he gathered a huge private collection of fossils and produced 18 scientific papers, dealing mainly with fossil sharks. Subsequent revisers criticized his approach to fossil taxa: their observations were generally sound, but they failed to fully recognize Lawley's scientific merits. His scientific papers, new taxa established by him and eponymys are given in the Appendix.


CounterText ◽  
2016 ◽  
Vol 2 (1) ◽  
pp. 85-99
Author(s):  
William Watkin

There has been little direct discussion between perhaps the two leading philosophers of our age: Alain Badiou and Giorgio Agamben. Yet both men have written about the same poem by Osip Mandelstam, ‘The Age’, around the topic of time. Significantly, Agamben's response, written after Badiou's, is a subtle and damning critique of Badiou's conceptualisation of time, in particular extended across the categories of the modern, the contemporary, and the now or the event – although it never actually mentions Badiou by name. In this paper the lens of the central role of indifference in the work of both is used to present alternating and competing views as to the nature of modern, contemporary, and ‘now’ time. Specifically, a contrast is drawn between Badiou's use of indifference as both quality-neutral and absolutely non-relational, and Agamben's application of the indifferent suspension of the temporal signature as such. The paper concludes that while Badiou uses temporal indifference to question and problematise the idea of modern time as ‘now’, through a theory of the event, Agamben appears to go further. Rather than analyse the nature of modern time, the contemporary and the now through his reading of Mandelstam, Agamben uses Mandelstam's poem to suspend the Western conception of time as a line composed of points in its entirety.


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