scholarly journals L’assaig com a gènere: un territori de frontera

2018 ◽  
Vol 12 ◽  
pp. 71
Author(s):  
Vicent Salvador Liern
Keyword(s):  
Academic Discourse ◽  
The Self ◽  
The Other ◽  
Literary Discourse ◽  
Expository Writing ◽  
Michel De Montaigne ◽  
Literary Genres ◽  
Western Literature ◽  
Other Hand ◽  
The One

Resum: El gènere assagístic es configura amb Michel de Montaigne, com a forma de deliberació interior de l’autor, i posteriorment ha estat cultivat per importants autors de la literatura occidental. La seua definició no és fàcil d’establir. D’una banda, sovint s’ha situat a la frontera del discurs literari, al qual s’introdueix de ple dret quan el seu estil exhibeix una textura estilística molt elaborada i no es redueix a una escriptura expositiva pròpia del discurs acadèmic. Les zones de transició amb la literatura del jo i amb el periodisme són, sens dubte, dignes d’atenció. D’altra banda, en el camp de la literatura, és molt instructiu examinar les seues relacions amb altres gèneres i principalment amb la poesia, amb la qual coincideix en la mesura que ambdós comparteixen una forta subjectivitat, però amb la diferència que l’assaig té un component més racionalista i no és compatible amb certes formes d’expressió de la intimitat.Paraules clau: gènere, discurs literari, poesia lírica, estil, literatura del joAbstract: The discursive genre called essay was founded by Michel de Montaigne as a form of internal deliberation of the author and has subsequently been cultivated by important authors of Western literature. Its definition is not easy to establish. On the one hand, it has often been situated at the frontier of literary discourse, to which it is fully entitled insofar as its style exhibits a very elaborate stylistic texture and is not reduced to an expository writing typical of academic discourse. The areas of transition with literature of the self and with journalism are undoubtedly worthy of attention. On the other hand, in the field of literature it is very instructive to study its relations with various literary genres and mainly with poetry, with which it coincides because both share a strong subjectivity, but there is an important difference between the two: the essay has a more rationalist component and is not compatible with certain forms of expression of intimacy.Keywords: genre, literary discourse, poetry, style, literature on the self

Stories and the Self

2020 ◽  
Vol 32 (2) ◽  
pp. 47-58 ◽  
Author(s):  
Stefan Krause ◽  
Markus Appel
Keyword(s):  
Meta Analysis ◽  
The Self ◽  
The Other ◽  
Lower Degree ◽  
Contrast Effects ◽  
Self Perception ◽  
Self Perceptions ◽  
Other Hand ◽  
The One ◽  
Implicit And Explicit

Abstract. Two experiments examined the influence of stories on recipients’ self-perceptions. Extending prior theory and research, our focus was on assimilation effects (i.e., changes in self-perception in line with a protagonist’s traits) as well as on contrast effects (i.e., changes in self-perception in contrast to a protagonist’s traits). In Experiment 1 ( N = 113), implicit and explicit conscientiousness were assessed after participants read a story about either a diligent or a negligent student. Moderation analyses showed that highly transported participants and participants with lower counterarguing scores assimilate the depicted traits of a story protagonist, as indicated by explicit, self-reported conscientiousness ratings. Participants, who were more critical toward a story (i.e., higher counterarguing) and with a lower degree of transportation, showed contrast effects. In Experiment 2 ( N = 103), we manipulated transportation and counterarguing, but we could not identify an effect on participants’ self-ascribed level of conscientiousness. A mini meta-analysis across both experiments revealed significant positive overall associations between transportation and counterarguing on the one hand and story-consistent self-reported conscientiousness on the other hand.

Keeping Company with Sondheim’s Women

2014 ◽  
Author(s):  
Stacy Wolf
Keyword(s):  
Musical Theater ◽  
Married Couples ◽  
Feminist Perspective ◽  
The Self ◽  
The Other ◽  
Female Characters ◽  
Other Hand ◽  
The One

This chapter examines the eight female characters inCompany, what they do in the musical, and how they function in the show’s dramaturgy, and argues that they elicit the quintessential challenge of analyzing musical theater from a feminist perspective. On the one hand, the women tend to be stereotypically, even msogynistically portrayed. On the other hand, each character offers the actor a tremendous performance opportunity in portraying a complicated psychology, primarily communicated through richly expressive music and sophisticated lyrics. In this groundbreaking 1970 ensemble musical about a bachelor’s encounters with five married couples and three girlfriends, Sondheim’s female characters occupy a striking range of types within one show. From the bitter, acerbic, thrice-married Joanne to the reluctant bride-to-be Amy, and from the self-described “dumb” “stewardess” April to the free-spirited Marta,Company’s eight women are distillations of femininity, precisely sketched in the short, singular scenes in which they appear.

scholarly journals Le « jeune » Flaubert et l’apprentissage des genres littéraires

FRANCISOLA ◽  
2018 ◽  
Vol 3 (1) ◽  
pp. 34
Author(s):  
Moulay Youssef SOUSSOU
Keyword(s):  
Turning Point ◽  
The Other ◽  
Mots Clés ◽  
Literary Genres ◽  
Madame Bovary ◽  
Other Hand ◽  
The One ◽  
Young Writer ◽  
Genres Litteraires

RÉSUMÉ. L’étude des premiers écrits de Flaubert est  un domaine encore inexploré. Une telle étude est tellement salutaire pour saisir la formation de l’écrivain et décrire l’évolution de son style à travers les différentes étapes de son œuvre de jeunesse marquée par l’exploration de plusieurs genres littéraires. Pourquoi le jeune écrivain privilégie-t-il deux genres majeurs, le genre autobiographique qui lui permet de concrétiser sa faculté lyrique et le genre théâtral où se révèle sa nature oratoire ? Le style de Flaubert est animé par les deux dimensions lyrique et oratoire, lesquelles dimensions marquent le premier roman de maturité Madame Bovary. Si ce roman marque un tournant dans la carrière de l’auteur c’est d’une part parce qu’il cumule les procédés de l’œuvre de jeunesse et d’autre part constitue le dépouillement du style de cette même œuvre. C’est avec et contre les procédés de l’écriture romantique que Flaubert forgera son style. Mots clés : Evolution, Flaubert, Genre, style, Roman.   ABSTRACT. The study of Flaubert's early writings is a domain that has not been explored yet. Conducting such a study is so beneficial for grasping the writer's formation and describing the evolution of his style through the different stages of his youthful work, which is marked by the exploration of several literary genres. Why does the young writer privilege two major genres, the autobiographical genre that allows him to concretize his lyric faculty and the theatrical genre in which his oratorical nature is revealed? Flaubert's style is animated by the two lyrical and oratorical dimensions, which characterize maturity of his first novel Madame Bovary. If this novel marks a turning point in the author’s career, it is because, on the one hand, it combines the processes of the work of youth, and, on the other hand, it consitutes the emerging style of the same work. It is with and against the processes of romantic writing that Flaubert forges his style. Keywords : Evolution, Flaubert, genre, novel, style.

Nietzsche’s Therapy of Therapy

2017 ◽  
Vol 46 (1) ◽  
Author(s):  
Marta Faustino
Keyword(s):  
Western Culture ◽  
The Self ◽  
The Other ◽  
Philosophical Tradition ◽  
Other Hand ◽  
The One ◽  
Basic Features

AbstractThis paper examines Nietzsche’s relation to the therapeutic philosophical tradition paradigmatically represented by the Hellenistic schools. On the one hand, given his project of rehabilitating Western culture and his understanding of the philosopher as a “physician of culture”, Nietzsche seems also to hold a therapeutic understanding of philosophy; on the other hand, he is extremely critical of any (philosophical, moral or religious) attempt to heal mankind. This paper does not aim to solve this tension but rather characterizes Nietzsche’s endeavor in this respect as a therapy of therapy. Through analysis of a) the basic features of the Hellenistic conception of philosophy, b) Nietzsche’s development of the analogy of the “philosophical physician”, c) his diagnosis of culture, and d) his criticism of previous therapists, I show that Nietzsche can be formally included in this tradition of thought, even if this inclusion has implications for the tradition itself. As I suggest, given the self-referentiality of Nietzsche’s therapy, his inclusion in this tradition might in fact simultaneously entail its own self-suppression.

The Active Guidance Module of a Rail-Bound Vehicle as an Application of Dependability Oriented Design in Self-Optimizing Systems

2008 ◽  
Author(s):  
Christoph Sondermann-Wo¨lke ◽  
Thomas Mu¨ller ◽  
Jens Geisler ◽  
Ansgar Tra¨chtler ◽  
Joachim Bo¨cker
Keyword(s):  
Collaborative Research ◽  
The Self ◽  
The Other ◽  
Optimization Process ◽  
Research Center ◽  
Mechatronic Systems ◽  
Other Hand ◽  
The One ◽  
The University

Integrating dependability in self-optimizing systems is a challenging task. Self-optimizing systems incorporate on the one hand the opportunity to apply novel solutions to complex mechatronic systems, but on the other hand constitute a possible risk because of non-determined behavior. The dependability concept in this paper covers both aspects: Increasing safety with self-optimization and minimizing the risk of self-optimization. This dependability concept is combined with the self-optimization process of the active guidance module which is currently under development at the Collaborative Research Center 614 at the University of Paderborn.

scholarly journals El género narrativo de Testo yonqui. Aproximación a la deriva ensayística de Paul B. Preciado

2020 ◽  
pp. 191-214
Author(s):  
Pau Conde Arroyo
Keyword(s):  
Guinea Pig ◽  
Theoretical Framework ◽  
The Self ◽  
The Other ◽  
Other Hand ◽  
The One ◽  
Definition Of ◽  
The Relationship

Este artículo trata de problematizar la definición taxonómica de Testo yonqui desde una óptica literaria que atiende a su faceta narrativa para dilucidar los cauces por los que se manifiesta en tanto que ensayo queer. Dicha problematización es abordada desde dos lugares: por un lado, desde la propia obra, atendiendo a las autodefiniciones presentes en el texto, que son examinadas a partir del marco teórico de la autobiografía; y, por otro lado, desde la recepción crítica de Testo yonqui. En último lugar, a la luz de lo anterior, se exponen una serie de tensiones relativas a la relación entre narración, referente y representación en la propuesta experimental del principio autocobaya.   This article aims to question the taxonomical definition of Testo Junkie from a literary perspective that considers its narrative aspect in order to elucidate the ways in which it can be regarded as a queer essay. Such questioning is approached from two angles: on the one hand, from the work itself, examining the self-definitions found in the text, which are studied on the basis of the theoretical framework of autobiography; and, on the other hand, from Testo Junkie’s critic reception. Lastly, the principle of the auto-guinea pig is also explored, in reference to the series of tensions arising from the relationship between narration, referent and representation.

scholarly journals Algorithmic anxiety: Masks and camouflage in artistic imaginaries of facial recognition algorithms

2019 ◽  
Vol 6 (1) ◽  
pp. 205395171985153 ◽  
Author(s):  
Patricia de Vries ◽  
Willem Schinkel
Keyword(s):  
Facial Recognition ◽  
The Self ◽  
The Other ◽  
Big Brother ◽  
Other Hand ◽  
Recognition Algorithms ◽  
The Face ◽  
The One

This paper discusses prominent examples of what we call “algorithmic anxiety” in artworks engaging with algorithms. In particular, we consider the ways in which artists such as Zach Blas, Adam Harvey and Sterling Crispin design artworks to consider and critique the algorithmic normativities that materialize in facial recognition technologies. Many of the artworks we consider center on the face, and use either camouflage technology or forms of masking to counter the surveillance effects of recognition technologies. Analyzing their works, we argue they on the one hand reiterate and reify a modernist conception of the self when they conjure and imagination of Big Brother surveillance. Yet on the other hand, their emphasis on masks and on camouflage also moves beyond such more conventional critiques of algorithmic normativities, and invites reflection on ways of relating to technology beyond the affirmation of the liberal, privacy-obsessed self. In this way, and in particular by foregrounding the relational modalities of the mask and of camouflage, we argue academic observers of algorithmic recognition technologies can find inspiration in artistic algorithmic imaginaries.

Kenosis as a Model for Interreligious Dialogue

2005 ◽  
Vol 33 (2) ◽  
pp. 211-222 ◽  
Author(s):  
Martha Th. Frederiks
Keyword(s):  
Interreligious Dialogue ◽  
The Self ◽  
The Other ◽  
Human Being ◽  
The Past ◽  
Religious Person ◽  
Other Hand ◽  
Shared Humanity ◽  
Pros And Cons ◽  
The One

In the past Christians have used various models in relating to people of other faiths. Most are still in use. Four dominant models immediately come to mind: those of expansion, of diakonia, of presence, and of interreligious dialogue. This article discusses the pros and cons of these models and then proposes a fifth model: the model of kenosis. The model of kenosis calls for imitation of the self-emptying act of Jesus in his Incarnation in relation to people of other faiths, based on a shared humanity. Kenosis demands, on the one hand, a total openness for the other, as a fellow human being and a religious person, while, on the other hand, it offers the possibility to be authentically different from the other, in religion, culture, etc. Thus is seems to offer a model for interreligious living and relating, which honors religious differences, give guidelines for relating to each other, and is firmly based in a shared humanity.

Geschichtlichkeit und Geschichtsbezug

2014 ◽  
Vol 2014 (1) ◽  
pp. 7-20
Author(s):  
Emil Angehrn
Keyword(s):  
Practical Reasoning ◽  
The Self ◽  
The Other ◽  
Other Hand ◽  
The One ◽  
Historical Reflection

The paper aims to complete the epistemological opposition of genesis and validity by discussing two types of their interconnection. On the one hand, it deals with genealogical arguments in the context of practical reasoning. This applies for positive justification (e.g. by tradition) as well as for negative delegitimisation (for instance Nietzsche’s genealogical critique of morality). On the other hand, it is about the hermeneutic explication of signification. Historical reflection offers ways to understand the meaning of an institution, the (perhaps hidden) signification of a thesis or a tradition. An informative paradigm thereof is the self-understanding of philosophy concerning its own issues and definition.

scholarly journals What Does ‘Information’ Mean in Integrated Information Theory?

Entropy ◽  
2018 ◽  
Vol 20 (12) ◽  
pp. 894 ◽  
Author(s):  
Olimpia Lombardi ◽  
Cristian López
Keyword(s):  
Information Theory ◽  
Theoretical Approach ◽  
The Self ◽  
The Other ◽  
Fundamental Properties ◽  
Other Hand ◽  
Formal Framework ◽  
The One ◽  
Integrated Information Theory ◽  
Integrated Information

Integrated Information Theory (IIT) intends to provide a principled theoretical approach able to characterize consciousness both quantitatively and qualitatively. By starting off identifying the fundamental properties of experience itself, IIT develops a formal framework that relates those properties to the physical substratum of consciousness. One of the central features of ITT is the role that information plays in the theory. On the one hand, one of the self-evident truths about consciousness is that it is informative. On the other hand, mechanisms and systems of mechanics can contribute to consciousness only if they specify systems’ intrinsic information. In this paper, we will conceptually analyze the notion of information underlying ITT. Following previous work on the matter, we will particularly argue that information within ITT should be understood in the light of a causal-manipulabilist view of information (López and Lombardi 2018), conforming to which information is an entity that must be involved in causal links in order to be precisely defined. Those causal links are brought to light by means of interventionist procedures following Woodward’s and Pearl’s version of the manipulability theories of causation.

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