Liquid cinema and the re-creation of thought: towards a philosophy of filmind

Includes bibliographical references.This research is towards the advancement of filmosophy as a progressive new approach to how we think about, and through, film. This explorative research aims to introduce, contextualise, and expand upon the thoughts and writings of Daniel Frampton, as found in his 2006 manifesto: Filmosophy. In order to provide a suitable platform from which to introduce Frampton’s contemporary concepts (i.e. ‘filmind’ and ‘fluid film-thinking’), this paper first outlines and discusses the various ways in which philosophy and film are said to overlap, culminating in a critical discussion of ‘film-as-philosophy’ in terms of the implications it posits for providing innovative philosophical contributions through uniquely cinematic means (the ‘problem of paraphrase’). This literature review concludes by presenting and discussing filmosophy and its major tenets as both an appropriate extension of the current canon, and as a potentially productive new paradigm through which both film and philosophy can be critically considered and advanced

Feminine Identities

The first four essays in this volume all focus on issues of gender in the works of different English authors and thinkers. Shorter versions of each of these essays were formerly presented as papers in an autonomous section of the Research and Educational Programme on Studies of Identity at the XXth Meeting of the Portuguese Association of Anglo-American Studies (Póvoa de Varzim, 1999) and published in the proceedings of the conference. The second cluster of essays in this volume — two of which (Jennie Wang’s and Teresa Cid’s) were first presented, in shorter versions, at the joint ASA/CAAS Conference (Montréal, 1999) — addresses the work of American women variously engaged in contexts of cultural diversity and grappling with the ideas of what it means to be an American and a woman, particularly in the twentieth century. These essays approach, from different angles, the definitional quandaries and semantic difficulties encountered when speaking about the self and the United States and provide, in one way or another, a sort of feminine rewriting of American myths and history.Fundação para a Ciência e a Tecnologi

Kaili, the homeland of 100 festivals: Space, music, and sound in a small city

This thesis examines the production of social space in Kaili, a small city in southwest China, through its branding as “the homeland of one hundred festivals”, inhabitants’ conceptualizations of music, amateur music-making practices, and the construction of the built environment. Drawing on Henri Lefebvre's triad of social space as a basic framework, I explore the complexity of the city through multiple aspects of the relationship between space, music and sound: how the built environment of post-Mao China hinders and hides amateur music, even in a city branded as a place of authentic (yuanshengtai) ethnic folk music; how disparities between the branding and living of Kaili have produced a discourse whereby citizens relocate authentic musical practices to an imagined rural space outside the city; and how amateur musicians have constructed hierarchies of amateur musical space within the city. This thesis makes a distinctive contribution across a range of disciplinary and theoretical interests: Chinese studies, multi-disciplinary debates about Lefebvre’s spatial theory, and urban studies. For Chinese studies, it gives detailed scrutiny to Lefebvre’s spatial theory in considering the historical and recent formation of urban space in China, and in so doing goes beyond the truism that social space is socially produced. It intervenes in ongoing discussions about Lefebvrian theory outside the parameters of Chinese studies, by grounding what has been a predominantly abstract discussion in ethnographically and textually-based research. My discussion of city branding and everyday musical activity elaborates Lefebvre’s theory, both modifying and adding to his triad of perceived, conceived and lived space

Homotopia?: Gay Identity, Sameness & the Politics of Desire

Do opposites attract? Is desire lack? These assumptions have become so much a part of the ways in which we conceive desire that they are rarely questioned. Yet, what do they say about how homosexuality — a desire for the same — is viewed in our culture? This book takes as its starting point the absence of a suitable theory of homosexual desire, a theory not predicated on such heterological assumptions. It is an investigation into how such assumptions acquired meaning within homosexual discourse, and as such is offered as an interruption within the hegemony of desire. As such, homosexual desire constitutes the biggest challenge to Western binaric thinking in that it dissolves the sacred distinctions between Same/Other, Desire/Identification, subject/object, male/female. Homotopia? (composed in 1997 but not published until now) investigates the development of a homosexual discourse at the end of the nineteenth century and the beginning of the twentieth century, and reveals how that discourse worked within heterosexualized models of desire. Andre Gide’s Corydon, Edward Carpenter’s The Intermediate Sex, and John Addington Symond’s A Problem in Modern Ethics are all pseudo-scientific texts written by non-medical men of letters, and were, in their time, highly influential on the emerging homosexual discourse. The fourth text, the twenty-odd pages of Marcel Proust’s novel A la recherché de temps perdu usually referred to as ‘La Race maudite,’ is the most problematic, in that it appeared under the guise of fiction. But Proust originally planned this ‘essay-within-a-novel’ to be published separately. In it, he offers a pseudo-scientific theory of male-male love. These four texts were published between the years 1891 and 1924, an historical moment when the concept of a distinct homosexual identity took shape within a medicalized discourse centered on essential identity traits and characteristics, and they all work within the rubric of science, contributing to a discourse which saw the human race divided into two distinct categories: heterosexuals and homosexuals. How did this division come about, and what were its effects? How was this discourse sustained, and how were the meanings it produced received? For men whose erotic interest was exclusively in other men, what did it mean to see oneself and one’s desires as the outcome of biology rather than moral lapse

Revisualising Intersectionality

Revisualising Intersectionality offers transdisciplinary interrogations of the supposed visual evidentiality of categories of human similarity and difference. This open-access book incorporates insights from social and cognitive science as well as psychology and philosophy to explain how we visually perceive physical differences and how cognition is fallible, processual, and dependent on who is looking in a specific context. Revisualising Intersectionality also puts into conversation visual culture studies and artistic research with approaches such as gender, queer, and trans studies as well as postcolonial and decolonial theory to complicate simplified notions of identity politics and cultural representation. The book proposes a revision of intersectionality research to challenge the predominance of categories of visible difference such as race and gender as analytical lenses

Creating Knowledge, volume 7, 2014

Dear Students, Faculty Colleagues and Friends, It is my great pleasure to introduce the seventh volume of the College of Liberal Arts and Social Sciences’ Creating Knowledge—our undergraduate student scholarship and research journal. First published in 2008, the journal is the outcome of an initiative to enhance and enrich the academic quality of the student experience within the college. Through this publication, the college seeks to encourage students to become actively engaged in creating scholarship and research and gives them a venue for the publication of their essays. Beginning with the sixth volume of the journal, we instituted a major change in the manner in which the papers for the journal were selected for inclusion and a decision about the best way to more fully represent the considerable breadth of subject matter that reflect the many different departments and programs that we have in the College of Liberal Arts and Social Sciences. Each major undergraduate department and program was challenged to develop a system whereby the single best scholarly essay written by a student during the academic year would be decided by faculty within that academic unit and awarded a publication slot in the current annual issue. This necessitated the cooperation and hard work of many within the undergraduate units in our college. The resulting collection of papers representing the efforts of our best students and the collaboration of faculty reviewers in 20 of our programs is certainly ample testimony to not only the creativity, hard work and sophistication of our undergraduate scholars, but of the dedication of our programs to the quality of the educational experiences and opportunities offered by them to students. It is through the continuing annual publication of this undergraduate student journal that we aim to underscore that leadership within their disciplines requires students to not only be familiar with the knowledge base of the discipline, but also to have the experience of being actively engaged in sustaining an intellectual community—understanding how their creative work and the work of others also depends on its dissemination and on the sharing of that knowledge within a community of scholars. I want to congratulate, first and foremost, the many student scholars whose work is featured in this seventh volume of the journal. They truly represent the best of the best. I also want to thank the faculty who served to make this publication possible—those who served on the editorial committees in each department and program that had the difficult task of selecting the best submissions their respective programs could make for this edition of the journal. I want to particularly thank Warren Schultz, PhD, associate dean for Undergraduate Studies, who spearheaded this year’s efforts—no small undertaking. To the students who are featured in this edition, it is my fondest hope that this will lead you to make similar contributions beyond the department and program, the college and DePaul University. To one and all, I extend my most sincere congratulations and gratitude. Chuck Suchar Deanhttps://via.library.depaul.edu/ckgallery/1006/thumbnail.jp

Handbook of Secular Bioethics (I). Key issues

Bioethics is a field of knowledge that requires plural approaches and solid scientific foundations to analyse with sufficient rigour the ethical, legal and social consequences of biotechnology and biomedicine. For this reason, this Handbook of Secular Bioethics, the result of many years of teaching and research, is designed to provide the necessary information to those interested in the subject. The ultimate aim is to provide arguments and proposals to encourage autonomy and responsibility, so that bioethical decisions enable the construction of a more transparent and democratic society. This perspective explains why the authors advocate the secular paradigm, based on the idea that the human rights acknowledged in international texts must form the universal minimum ethical threshold as a suitable legal and political model to ensure that these debates are productive and plural, and not merely based on beliefs, religious or of any other kind

Revisualising Intersectionality

Revisualising Intersectionality offers transdisciplinary interrogations of the supposed visual evidentiality of categories of human similarity and difference. This open-access book incorporates insights from social and cognitive science as well as psychology and philosophy to explain how we visually perceive physical differences and how cognition is fallible, processual, and dependent on who is looking in a specific context. Revisualising Intersectionality also puts into conversation visual culture studies and artistic research with approaches such as gender, queer, and trans studies as well as postcolonial and decolonial theory to complicate simplified notions of identity politics and cultural representation. The book proposes a revision of intersectionality research to challenge the predominance of categories of visible difference such as race and gender as analytical lenses

From Tradition to Brand: the Making of "Global" Korean Culture in Millennial South Korea

“From Tradition to Brand” examines the construction of a ‘global’ Korean culture in the late 20th and early 21st centuries through the imbrication of cultural production and information technologies. “Global Korea” seeks to transcend the geographic boundaries of the Republic of Korea while simultaneously re-inscribing the limits of ethnonational identity by confusing the temporal distinctions of tradition and ethnic belonging to the geopolitical construct of “Korea.” Globalization was introduced in Korea as a nationalist project that continued on the developmental trajectory that had been pursued by the preceding authoritarian regimes, but the movements of South Korean citizens, diaspora Koreans, and non-ethnic-Korean immigrants in and out of the country has created a transnational community of shared social and cultural practices that now constitute the global image of Korean culture. National culture had been a major site of conflict between authoritarian regimes, opposition groups, and the specter of North Korea over the representation of a unified culture and ethnic heritage. However, civil society and economic successes in the 1990s brought about a crisis of identification, while migration flows began to threaten the exclusive correspondence between citizenship and ethnic identity. Studies of contemporary Korea have recognized the nationalist appropriation of globalization, but I argue that the parallel development of national culture and information technology in South Korea has resulted in a deracinated signifier of “Koreanness” that can be performed through the consumption and practice of mediated “Korean” content. Through a study of cultural policies; international literary events; and literature, film, and popular culture texts, I trace the vicissitudes of intervention and opposition by state, institutional, and individual actors involved in the production and transmission of Korean culture. I begin with the imbrication of national culture and information technology in Chapter 1, from the establishment of the Ministry of Culture and Information in the 1960s, to the application of the country’s well-developed research and technology sectors to the newly defined “cultural industries” in the late 1990s and early 2000s. In Chapter 2, I analyze the proceedings of international literary events held in Seoul from 2003-2011 that protested the instrumentalization of culture while decrying the persistence of a hierarchy of cultural distinction in “World Literature.” These chapters draw out the productive tension between the state’s conception of culture as content or commodity to be regulated, and the international artistic establishment’s view of culture as a “field of struggle.” In the following chapters I chart the intermedial discourse of identity and belonging to communities of ethnicity, gender, sexuality, national origin, and class through cultural texts from the early 2000s. In Chapters 3, 4, and 5, I analyze newly canonized literature and films about migrant laborers to South Korea (Ch. 3); popular TV dramas about Korean cuisine and the culinary industry (Ch. 4), and “historical” narratives that challenge generic boundaries through time travel, hybrid sonic registers, and alternate histories (Ch. 5). South Korea becomes the signifier of an ideal “Korean” space in these texts. It is at once a de-territorialized multi-ethnic space of excessive consumption; an idealistically cosmopolitan, yet ethnically homogeneous space of economic and class mobility; and a socially progressive atemporal space of pre- and post-modern aesthetes. “From Tradition to Brand” builds on critical discourses of multiculturalism, globalization, visual media, genre, narrative, and transnational cultural studies to conclude that South Korean global culture performs a temporal double-bind that erases its present-tense cultural identity in favor of a recuperative past in the utopian future