Jim Morrison

We have much to learn from the rhetoric of Jim Morrison (and The Doors) and the rhetoric employed by Jim Morrison (and The Doors). Scott Sundvall‘s piece argues that the rhetorical tension of the band partially rests on their still-today reputation as the “band you love to hate,” but also partially on the fact that they (Jim in particular) were also the “band that loved to hate you—the audience and everything about rock and roll.” And there is a positive feedback loop between the two. After all, The Doors in general, Morrison in particular, were about the (rhetorical) meaning in a lack of meaning, insofar as rock and roll itself was dead. Morrison, Sundvall suggests, was the centerpiece of such a rhetorical exchange and comportment. You either love getting your faced shoved into the shit, Sundvall/Morrison argues, or you’re going to get your kicks in before the whole shithouse goes up in flames—in true Nietzschean import. All right!

Resurrecting the body: affect and agency in Artaud's theatre of cruelty, contemporary performance and immersive virtual space

I am interested in exploring Brown's conception of a resurrection of the body through creative transgressions and Sontag's notion of an erotics of art. Beginning with Antonin Artaud's conceptualization of a "theatre of cruelty", I propose to examine artistic embodiments of transgression and erotics in the works of performance artists such as Karen Finley and Vito Acconci, as well as in the virtual art of Char Davies. Transgression and erotics in popular culture will be explored through the performance style of Jim Morrison and The Doors. Using Nietzsche and Brown's discussions of the Apollonian and Dionysian conditions or states of artistic consciousness, I argue that a return to the senses or to the romanticist notion of the "deep interior" is required in order for the process of social healing and unification to begin -- Pages 2-3.

Resurrecting the body: affect and agency in Artaud's theatre of cruelty, contemporary performance and immersive virtual space

I am interested in exploring Brown's conception of a resurrection of the body through creative transgressions and Sontag's notion of an erotics of art. Beginning with Antonin Artaud's conceptualization of a "theatre of cruelty", I propose to examine artistic embodiments of transgression and erotics in the works of performance artists such as Karen Finley and Vito Acconci, as well as in the virtual art of Char Davies. Transgression and erotics in popular culture will be explored through the performance style of Jim Morrison and The Doors. Using Nietzsche and Brown's discussions of the Apollonian and Dionysian conditions or states of artistic consciousness, I argue that a return to the senses or to the romanticist notion of the "deep interior" is required in order for the process of social healing and unification to begin -- Pages 2-3.

The study of variability in engineering design—An appreciation and a retrospective

We explore the concept of parameter design applied to the production of glass beads in the manufacture of metal-encapsulated transistors. The main motivation is to complete the analysis hinted at in the original publication by Jim Morrison in 1957, which was an early example of discussing the idea of transmitted variation in engineering design, and an influential paper in the development of analytic parameter design as a data-centric engineering activity. Parameter design is a secondary design activity focused on selecting the nominals of the design variables to achieve the required target performance and to simultaneously reduce the variance around the target. Although the 1957 paper is not recent, its approach to engineering design is modern.

Counterculture vs. metaphysics: Jim Morrison and his «Notes on a Vision»

Jim Morrison’s creative legacy still draws the attention of intellectual explorers. Yet there is one item that has been in fact seriously avoided through years — «Notes on a Vision», maybe his one and only theoretical issue, or at least something of a kind. This article is a considerable attempt (as for Russian «Morrison studies», holds true) to represent the complexity of Morrison’s views on the history, development and metaphysics of human perception, which may be his outline theme through life.

Seré famoso algún día algún día

For some reason, creators are more likely to die at the age of 27. Several singers and songwriters often fell by the wayside, as consequence of an overdose. Names like Jimmy Hendrix, Amy Weinhouse, Janis Joplin, Jim Morrison and to this list we add Jean-Michel Basquait. What do they have in common? A success that they did not know how to handle? "The Radiant Child" could not escape that curse ...drugs, success and 27 years

‘Break on Through’

As Blake had espoused horror at rebellious spirit turned to murderous bloodshed, so the sounds of the sixties often reflected disillusionment with organized revolution, believing real change came from within. Bob Dylan, Ed Sanders, and Patti Smith sounded the voice of experience as well as innocence. Jim Morrison was driven by the dark and destructive energy of the prophet–artist who finds that, in trying to change the world, he has destroyed it. Morrison and Smith reflected the two sides of the psychedelic Blake of the sixties. Morrison’s Blake was one of terror and dark vision. Smith paid tribute to the Blake of compassion and social justice. Both found him deeply relevant to the crisis they perceived in their own country and historical moment.

An American Prayer:

Este artigo apresenta uma análise descritiva de duas traduções para o português do poema “An American Prayer”, de Jim Morrison, publicado em 1970: a de Manuel João Gomes (1992) e a de Fabiano Calixto (2010). Jim Morrison, apesar de ter tido reconhecimento internacional como vocalista da banda The Doors, teve uma estreita relação com a poesia, tendo escrito dois livros de poemas. Dentre os vários poemas escritos por ele, “An American Prayer” talvez seja um dos mais emblemáticos. Ao procurar analisar as duas traduções do poema para o português, no que se refere aos dados preliminares, à macroestrutura, à microestrutura e ao contexto sistêmico, tendo como apoio o texto de partida escrito em língua inglesa, este trabalho utiliza como referencial teórico a Teoria de Skopos (VERMEER, 2004), na qual o texto de chegada é levado em conta pela sua função; a Teoria dos Polissistemas (EVEN-ZOHAR, 1990), na qual o sistema cultural é subdividido em vários sistemas; e o modelo de análise dos Estudos Descritivos da Tradução proposto por Lambert e Van Gorp (1985). As considerações finais da análise levam a crer que cada um dos poemas de chegada serve ao seu propósito específico, estando eles inseridos em skopos característicos que refletem as escolhas lexicais feitas por seus tradutores.