15,276 research outputs found

    The temporality of rhetoric: the spatialization of time in modern criticism

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    Every conception of criticism conceals a notion of time which informs the manner in which the critic conceives of history, representation and criticism itself. This thesis reveals the philosophies of time inherent in certain key modern critical concepts: allegory, irony and the sublime. Each concept opens a breach in time, a disruption of chronology. In each case this gap or aporia is emphatically closed, elided or denied. Taking the philosophy of time elaborated by Giorgio Agamben as an introductory proposition, my argument turns in Chapter One to the allegorical temporality which Walter Benjamin sees as the time of photography. The second chapter examines the aesthetics of the sublime as melancholic or mournful untimeliness. In Chapter Three, Paul de Man's conception of irony provides an exemplary instance of the denial of this troubling temporal predicament. In opposition to the foreclosure of the disturbing temporalities of criticism, history and representation, the thesis proposes a fundamental rethinking of the philosophy of time as it relates to these categories of reflection. In a reading of an inaugural meditation on the nature of time, and in examining certain key contemporary philosophical and critical texts, I argue for a critical attendance to that which eludes those modes of thought that attempt to map time as a recognizable and essentially spatial field. The Confessions of Augustine provide, in the fourth chapter, a model for thinking through the problems set up earlier: Augustine affords us, precisely, a means of conceiving of the gap or the interim. In the final chapter, this concept is developed with reference to the criticism of Arnold and Eliot, the fiction of Virginia Woolf and the philosophy of cinema derived from Deleuze and Lyotard. In conclusion, the philosophical implications of the thesis are placed in relation to a conception of the untimeliness of death

    What is the importance of sperm subpopulations?

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    .The study of sperm subpopulations spans three decades. The origin, meaning, and practical significance, however, are less clear. Current technology for assessing sperm morphology (CASA-Morph) and motility (CASA-Mot) has enabled the accurate evaluation of these features, and there are many options for data classification. Subpopulations could occur as a result of the stage of development of each spermatozoon in the subpopulation. Spermatogenesis might contribute to the production of these subpopulations. Insights from evolutionary biology and recent molecular research are indicative of the diversity among male gametes that could occur from unequal sharing of transcripts and other elements through cytoplasmic bridges between spermatids. Sperm cohorts exiting the gonads would contain different RNA and protein contents, affecting the spermatozoon physiology and associations with the surrounding environmental milieu. Subsequently, these differences could affect how spermatozoa interact with the environmental milieu (maturation, mixing with seminal plasma, and interacting with the environmental milieu, or female genital tract and female gamete). The emergence of sperm subpopulations as an outcome of evolution, related to the reproductive strategies of the species, genital tract structures, and copulatory and fertilization processes. This kind of approach in determining the importance of sperm subpopulations in fertilization capacity should have a practical impact for conducting reproductive technologies, inspiring and enabling new ways for the more efficient use of spermatozoa in the medical, animal breeding, and conservation fields. This manuscript is a contribution to the Special Issue in memory of Dr. Duane GarnerS

    The empty space in abstract photography: a psychoanalytical perspective

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    The aim of the research that this thesis is based on is to explore the theoretical problems raised by the concept of photographic abstraction. These consist in the tension between the two aspects of the photographic sign, the indexical and iconic, and are examined in the context of the particular exploration of the empty space in abstract photography which I have pursued through my practice. The investigation draws mainly upon the psychoanalytic theory of transitional phenomena as proposed by Winnicott, as well as other art theories (Deleuze & Guattari, Ehrenzweig, Fer, Fuller, Greenberg, Joselit, Kuspit, Leider, Worringer) of abstraction. It explores the relationship of the abstract photographic image to notions of exteriority and interiority as these relate to the transition from the unconscious to conscious reality. The development of this research suggests the psychoanalytical concept of potential space as a contribution to an aesthetic model of abstraction. This concept is employed as a methodological tool in the development of the practical work and creates a framework for its interpretation. The concept of potential space is based on Winnicott's ideas around "playing with the real" in an intermediate area of experience between the internal and external reality, where creativity originates as a zone of fictive play that facilitates the subject's journey from "what is subjectively conceived of' to "what is objectively perceived. " The outcome of this investigation constitutes the production of a series of photographs describing an empty abstract space, one that is invested with a psychic dimension that produces the effect of ambiguity between its representational and abstract readings. It provides a redefinition of abstraction in a space of tension between the iconic and indexical aspects of the sign and opens up the space of abstraction in photography as one in which the relationship between inner and outer reality can be performed and can become a space of action and intervention

    Recent Hong Kong cinema and the generic role of film noir in relation to the politics of identity and difference

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    This thesis identifies a connection in Hong Kong cinema with classical Hollywood film noir and examines what it will call a 'reinvestment' in film noir in recent films. It will show that this reinvestment is a discursive strategy that both engages the spectator-subject in the cinematic practice and disengages him or her from the hegemony of the discourse by decentring the narrative. The thesis argues that a cinematic practice has occurred in the recent reinvestment of film noir in Hong Kong, which restages the intertextual relay of the historical genre that gives rise to an expectation of ideas about social instability. The noir vision that is seen as related to the fixed categories of film narratives, characterizations and visual styles is reassessed in the course of the thesis using Derridian theory. The focus of analysis is the way in which the constitution of meanings is dependent on generic characteristics that are different. Key to the phenomenon is a film strategy that destabilizes, differs and defers the interpretation of crises-personal, social, political and/or cultural-by soliciting self-conscious re-reading of suffering, evil, fate, chance and fortune. It will be argued that such a strategy evokes the genre expectation as the film invokes a network of ideas regarding a world perceived by the audience in association with the noirish moods of claustrophobia, paranoia, despair and nihilism. The noir vision is thus mutated and transformed when the film device differs and defers the conception of the crises as tragic in nature by exposing the workings of the genre amalgamation and the ideological function of the cinematic discourse. Thus, noirishness becomes both an affect and an agent that contrives a self-reflexive re-reading of the tragic vision and of the conventional comprehension of reality within the discursive practice. The film strategy, as an agent that problematizes the film form and narrative, gives rise to what I call a politics of difference, which may also be understood as the Lyotardian 'language game' or a practice of 'pastiche' in Jameson's terminology. Under the influence of the film strategy, the spectator is enabled to negotiate his or her understanding of recent Hong Kong cinema diegetically and extra-diegetically by traversing different positions of cinematic identification. When the practice of genre amalgamation adopts the visual impact of the noirish film form, the film turns itself into a playing field of 'fatal' misrecognition or a site of question. Through cinematic identification and alienation from the identification, the spectator-subject is enabled to experience the misrecognition as the film slowly foregrounds the way in which the viewer's presence is implicated in the narrative. This thesis demonstrates that certain contemporary Hong Kong films introduce this selfconscious mode of explication and interpretation, which solicits the spectator to negotiate his or her subject-position in the course of viewing. The notions of identity and subjectivity under scrutiny will thus be reread. With reference to The Private Eye Blue, Swordsman II, City a/Glass and Happy Together, the thesis shall explore the ways in which the Hong Kong films enable and facilitate a negotiation of cultural identity

    In search of 'The people of La Manche': A comparative study of funerary practices in the Transmanche region during the late Neolithic and Early Bronze Age (250BC-1500BC)

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    This research project sets out to discover whether archaeological evidence dating between 2500 BC - 1500 BC from supposed funerary contexts in Kent, flanders and north-eastern Transmanche France is sufficient to make valid comparisons between social and cultural structures on either side of the short-sea Channel region. Evidence from the beginning of the period primarily comes in the form of the widespread Beaker phenomenon. Chapter 5 shows that this class of data is abundant in Kent but quite sparse in the Continental zones - most probably because it has not survived well. This problem also affects the human depositional evidence catalogued in Chapter 6, particularly in Fanders but also in north-eastern Transmanche France. This constricts comparative analysis, however, the abundant data from Kent means that general trends are still discernible. The quality and volume of data relating to the distribution, location, morphology and use of circular monuments in all three zones is far better - as demonstrated in Chapter 7 -mostly due to extensive aerial surveying over several decades. When the datasets are taken as a whole, it becomes possible to successfully apply various forms of comparative analyses. Most remarkably, this has revealed that some monuments apparently have encoded within them a sophisticated and potentially symbolically charged geometric shape. This, along with other less contentious evidence, demonstrates a level of conformity that strongly suggests a stratum of cultural homogeneity existed throughout the Transmanche region during the period 2500 BC - 1500 BC. The fact that such changes as are apparent seem to have developed simultaneously in each of the zones adds additional weight to the theory that contact throughout the Transmanche region was endemic. Even so, it may not have been continuous; there may actually have been times of relative isolation - the data is simply too course to eliminate such a possibility

    A Cornish palimpsest : Peter Lanyon and the construction of a new landscape, 1938-1964

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    The thesis examines the emergence of Peter Lanyon as one of the few truly innovative British landscape painters this century. In the Introduction I discuss the problematic nature of landscape art and consider the significance of Lanyon's discovery that direct description and linear perspective can be replaced with allusive representational elements by fusing the emotional and imaginative life of the artist with the physical activity of painting. Chapter One concentrates on the period 1936-8 when Lanyon was taught by Borlase Smart, a key figure in the St Ives art colony between the wars. Chapter Two examines the influence of Adrian Stokes and the links between Lanyon's painting and the theories developed in books such as Colour and Form and The Quattro Cento. Chapter Three analyses the period 1940-45 when Lanyon was directly influenced by the constructivism of Nicholson, Hepworth and Gabo. I look closely at their approaches to abstraction and assess Lanyon's relative position to them. The importance of Neo-Romanticism and the status of St Ives as a perceived avant-garde community is also addressed. In Chapter Four I discuss how Lanyon resolved to achieve a new orientation in his art on his return from wartime service with the RAF by synthesising constructivism, and traditional landscape. The Generation and Surfacing Series demonstrate his preoccupation with a sense of place, a fascination with the relationships between the human body and landscape and his struggle to find a technique and style that was entirely his own. His sense of existential insideness is discussed in Chapter Five through an examination of the work derived from Portreath, St. Just and Porthleven - key places in Lanyon's psychological attachment to the landscape of West Penwith. In Chapter Six I examine Lanyon's attachment to myths and archetypal forms, tracing the influence of Bergson's vitalist philosophy as well as his use of Celtic and classical motifs. Chapter Seven is a discussion of the malaise evident in Lanyon's work by 1955 and the impact of American Abstract Expressionism at the Tate Gallery a year later. In the summer of 1959 Lanyon joined the Cornish Gliding Club and Chapter Eight looks at how this necessitated a dynamic, expanded conception of the landscape and a re-thinking of relations within the picture field. The ability to dissolve boundaries encouraged him to break down distinctions between painting and construction so that abstract sculptural elements were now assembled into independent works of art. Finally, Chapter Nine assesses Lanyon's overall position in relation to his early influences and to St Ives art as a whole, his response to new directions in art coming out of London and NewYork in the early 1960s and the importance of travel as a stimulus for further realignment in his artistic and topographical horizons. His pictorial inventiveness and vitality remained unabated at the time of his death and would undoubtedly have continued to be enriched by travel abroad and contact with new movements in modem art on both sides of the Atlanti

    The withdrawal of being and the discursive creation of the modern subject - an examination of the movement form being to non-being through a consideration of Heideggerean and Arsitotelian notions of being

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    This work considers what it means to 'be' human and seeks to show that it is in the activity of 'being' human that our individual identity lies, because this is the activity that determines what we are and what we will become. Aristotle asked the fundamental metaphysical question, "is a human being idle by nature?" and concluded, from his realisations concerning the dynamic nature of reality, that he is not. Accordingly, the metaphysical vision of 'beinghuman' that Aristotle articulated, which is considered and applied in this work, in contrast to the static notions of being presented by Heidegger and Christian scholasticism, presents an understanding of man as a potentially dynamic and internally active being, capable of maintaining himself by bein~ attuned to reality and thereby contemplating God. It seems most timely to explore Aristotle's understanding of 'being-human' because much postmodern thought seems to be concerned with locating the 'self, or explicating its disappearance in terms of an emancipation from form, or as the exposure of some form of illusion that has kept us all living the lie of selfhood. However, the 'absent' postmodern self finds a place in Aristotle's metaphysical vision, because not only did Aristotle recognise the significance of actively 'being' human, he also recognised that through deprivation and incapacity some forms of being can go out of existence or become something else. And it appears that our postmodern form of unconscious existence constitutes such an altered form, determined according to a deprivation of actively 'being', i.e., by 'non-being.' The determining movement of 'non-being', which emerges from the ontological gap created by failing to 'be', is considered throughout this work, particularly with regard to developments in language and technology, because it is through our single-minded engagement in external productive activities, which are incidental to 'being-human', that we have avoided the inner contemplative activity that inheres in human 'thinghood'

    Patterns of subspecies diversity in the giraffe, Giraffa camelopardalis (L. 1758): comparison of systematic methods and their implications for conservation policy

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    This thesis examines the subspecific taxonomic status of the giraffe and considers the role of formal taxonomy in the formulation of conservation policy. Where species show consistent. geographically structured phenotypic variation such geographic patterns may indicate selective forces (or other population-level effects) acting. upon local populations. These consistent geographic patterns may be recognised formally as subspecies and may be of interest in single or multi-species biodiversity or biogeography studies for delimiting areas of conservation priority. Subspecies may also be used in the formulation of management policies and legislation. Subspecies are, by definition, allopatric. This thesis explicitly uses methodology of systematic biology and phylogenetic reconstruction to investigate patterns of variation between geographic groups. The taxonomic status of the giraffe is apposite for review. The species provides three independent data sets that may be analysed quantitatively for geographic structure; pelage patterns, morphology and genetics. Museum specimens. grouped according to geographic origin, were favoured for study as more than one type of data was often available for an individual. Population aggregation analysis of forty pelage pattern characters maintained six separate subspecies, while agglomerating some neighbouring populations into a subspecies. A 'traditional' morphometric approach, using multivariate statistical analysis of adult skull measurements, was complemented by a geometric morphometric approach; landmarkrestricted eigenshape analysis. Four morphologically distinct groups were recognised by both morphological analyses. Phylogenetic analysis of mitochondrial DNA control region sequences indicates five major cIades. Nested cIade analysis identifies population fragmentation, range expansion and genetic isolation by distance as contributing to the genetic structure of the giraffe. The results of the analyses show remarkable congruence. These results are discussed in terms of the formulation of conservation policy and the differing requirements of'blological and legal classification systems. The value of a formal taxonomic framework to the recognition, and subsequent conservation, of biodiversity is emphasised

    Making Sense of Ayahuasca Non-Sense: A critical study of UK groups consuming a psychoactive plant mixture and their struggle to find religious meaning

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    How we make sense of ourselves, and the cosmos is an ongoing concern, guided by the people we meet, environments we exist within, and plants we consume. Having spent over a year observing forty-nine participants within three UK-based ayahuasca churches, it is clear that the psychoactive 'brew' ayahuasca creates intense changes to how individuals think about themselves and the world they live in. At the heart of the ayahuasca experience are non-sensical hallucinations and visions, which often exist outside of perceptual understanding, leaving individuals feeling lost in an unknowable universe. As we will come to see, making sense of non-sensical ayahuasca experiences requires individuals to negotiate multiple 'common-sense' views of reality. Taking a view that mind is something that happens within life, this ethnographic study uses participant observation, interviews, conversations, personal diaries, and my experiences as an ayahuasca tourist to detail how making sense of reality is also an act of making oneself. In so doing, I argue that ayahuasca hallucinations and visions function as a source of ongoing mental innovation, facilitating preferred views of reality throughout these psychoactive churches. Critically, we will see how frequent ayahuasca consumption engenders in-depth beliefs in the supernatural, and in particular, devotion to the goddess Ayahuasca, who functions as the unchallengeable road to knowing oneself and reality. Acting as an otherworldly guide, the immaterial goddess Ayahuasca plays a key part in how individuals convert non-sensical experiences into sense, while providing practical advice for how to achieve salvation. Problematically though, positioning the universe and oneself as predominantly supernatural tends to erode beliefs in the physical world, leaving these churches with incoherent views of reality, and at the periphery of everyday social life. As such, church doctrines seem increasingly unable to cope with life outside of their groups, and thus, tactically stigmatise competing views of reality as sinful and individuals espousing such heresies as under the control of malevolent demonic beings. Not surprisingly, this binary belief in a good and evil cosmos is a powerful regulatory force dictating what reality is within these churches, and who church members can claim to be
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