Abdullah Cevdet, Doktor (1869-1932)

Taha Toros Arşivi, Dosya No: 10-Abdullah Cevde

La Conquista de la Percepción. El cine y la Gran Guerra en la estética de Paul Virilio

After the end of the Second World War, the capitalist model of knowledge and production of the economy of war reached economy, politics and culture. Therefore, a strategic alliance was created between an incipient military- industrial network, reported decades afterwards by Eisenhower, and a still precarious film industry which put at the disposal of power all its ability of symbolic creation.Virilian thesis proposes that in much the same way the acceleration of firearms and war technology transformed the battlefield, the visual acceleration imposed by the film camera would begin to transform the viewer’s natural perceptual field as of 1914. Thus, the phenomenological experience of the gaze is diluted as well as the reconciliation of the image with its referents is almost impossible. It is a perfect separation according to which the Conquer of the Perception can be described in accordance to three crucial moments in the development of war technologies: firstly, the phenomenological deregulation of the perception which accompanied filmmaking during the Great War. Secondly, the industrialization of the gaze and the in live experience imposed after the Second World War and especially during the Vietnam War and, lastly, the current automation of vision and the creation of synthesis images in the contemporaneous virtual inforwar spread through information networks (Virilio, 1989). In this article we analyse from a virilian prism the film production of the first of these phases.Tras el fin de la Primera Guerra Mundial, el modelo capitalista de conocimiento y producción de la economía de guerra se extendió al conjunto de la economía, la política y la cultura. Se conformó así una alianza estratégica entre un incipiente complejo militar-industrial, décadas después denunciado por Eisenhower, y una todavía precaria industria cinematográfica que puso al servicio del poder toda su capacidad de creación simbólica.La tesis viriliana propone que del mismo modo que la aceleración del disparo y la tecnología bélica transformaron el campo de batalla, la aceleración visual, impuesta por la cámara cinematográfica, comenzará a partir de 1914 a transformar el campo de percepción natural del espectador, diluyendo la experiencia fenomenológica de la mirada y volviendo prácticamente imposible la reconciliación de la imagen con sus referentes. Es la separación perfecta según la cual se puede describir la historia de la Conquista de la Percepción en el siglo XX de acuerdo a tres momentos cruciales en el desarrollo de las tecnologías bélicas: en primer lugar, la desregulación fenomenológica de la percepción a la que acompaña al cine durante la Gran Guerra, en segundo lugar, la industrialización de la mirada y la experiencia in live impuesta tras la II Guerra Mundial y de modo especial durante la guerra de Vietnam y, por último, la actual automatización de la visión y la creación de imágenes de síntesis en la infoguerra virtual contemporánea desplegada en las redes informacionales (Virilio, 1989). En el presente artículo nos ocupamos de analizar desde el prisma viriliano la producción cinematográfica de la primera de estas fases

Olivier Forcade, La Censure en France pendant la Grande Guerre

Comment organiser la censure de la presse, de l’édition et des spectacles en temps de guerre dans une République qui a fait de la loi du 29 juillet 1881, un des piliers de la liberté politique par refus de la législation du Deuxième Empire ? Dans une vie politique française nourrie de réminiscences historiques pour le motif qu’elle prétend réaliser, hic et nunc, le développement d’un processus historique qui conduit inéluctablement vers l’âge positif, la date du 29 juillet renvoie aux ordonna..

Lire ce que Marcel Mauss a lu :

Depuis le début des années 1920, Marcel Mauss entend associer pleinement l’approche sociologique et l’approche psychologique pour une meilleure compréhension des comportements et des conduites sociales. Cette confé­rence de 1934, intitulé « les techniques du corps » est un moyen, pour Mar­cel Mauss de réaffirmer l’importance des analyses psychologique – en particulier celle de Rivers, concernant l’instinct.Reading what Marcel Mauss read: Enquiry on “Techniques of the body” and the instinct theory.Since the early nineteen-twenties, Marcel Mauss has wanted to fully asso­ciate the sociological approach and the psychological approach for a better understanding of the social behaviours and conducts. This 1934 conference titled “Techniques of the body” is for Marcel Mauss a means to stress the importance of the psychological analyses, and particularly that of Rivers concerning instinct.« Leer lo que Marcel Mauss leyó : investigación acerca de las “técnicas del cuerpo” y la reoría del instincto ». Desde el principio de los años 20, Marcel Mauss pretende asociar por com­pleto la aproximación sociológica y la aproximación sicológica para que se entiendan mejor los comportamientos y las conductas sociales. La conferen­cia de 1934 titulada « las técnicas del cuerpo » es un medio para Marcel Mauss de reafirmar la importancia de los análisis sicológicos que se refierren al instinto, y particularmente a la de Rivers.Seit Anfang der 20.ger Jahren ist es für Marcel Mauss wichtig die Soziologie mit der Psychologie zu verbinden, dies für ein besseres Verständ­nis der individuellen Verhaltensweisen und des sozialen Benehmens. Die­ser Vortrag von 1934, „Les techniques du corps“, ist für ihn ein Mittel, die Bedeutung der psychologischen Analysen hervorzuheben, insbesondere die von Rivers über den Instinkt

MILITARISMO E PACIFISMO EM EUCLIDES DA CUNHA: O CASO CANUDOS

O presente ensaio discute duas noções inerentes ao pensamento de Euclides da Cunha: militarismo e pacifismo. Com base na biografia e declarações epistolares do escritor brasileiro, busca-se um modo de compreender o seu posicionamento quanto aos conflitos bélicos em geral e, mais particularmente, à guerra de Canudos. A nossa intenção, ao estabelecermos tal discussão, foi advertir possíveis intérpretes da Guerra de Canudos sobre o risco de, apressada ou imprudentemente, se concluir que Euclides abraçava o militarismo de forma cega ou definitiva. Esperamos que através de nossa análise – elencando certas figuras pacifistas dos séculos XIX e XX e, principalmente, com o apoio dos argutos comentários de José Ortega Gasset sobre as ideias de Max Scheler sobre a guerra – poder-se-á entender melhor a trajetória que percorreu o autor de Os sertões, o qual, por um lado, adere-se à ideologia do Exército num primeiro momento de sua vida adulta e, por outro, logo mais tarde renuncia-a para abraçar a das soluções pacíficas ou diplomáticas entre as nações.This essay discusses two notions inherent to Euclides da Cunha's thought: militarism and pacifism. Based on the biography and epistolary statements of the Brazilian writer, I seek a way to understand his position regarding military conflicts in general and, more particularly, the war in Canudos. My intention, in establishing such a discussion, was to warn possible interpreters of the War of Canudos about the risk of, hurriedly or recklessly, concluding that Euclides embraced militarism blindly or definitively. I hope that through our analysis and by listing certain pacifist figures of the 19th and 20th centuries and, mainly, with the support of José Ortega Gasset's acute comments on Max Scheler's ideas about war – it will be possible to better understand the trajectory which the author of Os sertões traveled, who, on the one hand, adheres to the ideology of the Army in an early moment of his adult life and, on the other, soon renounces it to embrace peaceful or diplomatic solutions between nations

Communication, Public Opinion, and Democracy: New Challenges

This essay addresses the relationship between communication, public opinion, and democracy, which is evident in Athenian democracy. It briefly considers the complexity of the concept of public opinion, and how it was understood as a political phenomenon accepted in general thinking and political action, as a consequence of the democratic dynamism originated by the printing press. After briefly considering some of the most relevant ideas about this relationship throughout the 19th century, this essay discusses the main attitudes that emerged in the face of public opinion after the First World War, from which the most relevant theories about the effects of media on opinion, behaviours, and action begun to be developed. The study takes into account the development of an empirical science of public opinion, linked to scientific opinion surveys. It summarises how the investigation of the effects of the media goes through a stage in which they are considered irrelevant, until some studies – especially the theories of agenda setting and the spiral of silence– recovered the idea of the powerful effects of the media. Finally, the essay addresses the new challenges posed by the disenchantment with democracy, the loss of credibility of the media, and the way of understanding communication, at a time in which digital technology has facilitated the creation of social media, causing a situation described as the post-truth era, in which the global need for information becomes more evident. The new challenges affect the political science, research on public opinion, and the science of communication, which requires a foundation of greater consistency than the current one

The European Space: Borders and Issues

Beyond the establishment of the European Union, in a context where nationalism of the nineteenth century continues to have real success in the twentieth century, debates about the historical past and the future of this important actor on the international scene are always present in the current political environment and the European academia and beyond. The analysis on the character of the EU, the essence of the European integration process, the many types of internal and external borders are in a constant change under the impact of numerous factors of influence of all kinds, and this is the very topic of this volume. Not coincidentally chosen by the editors, this volume titled The European Space. Borders and Issues brings together a collection of articles and studies that combine, for a scientific purpose, the authors’ concerns regarding the exceptional scientific work of Professor Ioan Horga. Complex analyzes of the European space are crowned by an overview of European realities, the capacity to see beyond the historical realities of European prospects. It took into account the historical perspective on European space, whether it was bent on present realities, Professor Ioan Horga vocation is leading the research, the ability to see both the general and the particular. Either that he has taken into account the historical perspective on the European space or he has been preoccupied with the present realities, Professor Ioan Horga’s vocation is leading the research, the ability to see both the general and the particular

"Der Surrealismus in Deutschland(?)":Interdisziplinäre Studien

Der Surrealismus wird sowohl geographisch als auch künstlerisch-ideologisch in Frankreich verortet und gilt dem starren Gerüst des Pariser Kreises um André Breton verpflichtet. Dabei haben bereits die französischen Surrealisten selbst regen Austausch mit internationalen Künstlern gepflegt und den Surrealismus als übernational begriffen. Dass es auch in anderen Ländern Spielarten des Surrealismus gab, rückte in den letzten Jahren zwar in den Forschungsfokus, doch nur selten war dabei die Rede von Deutschland. Die interdisziplinäre Tagung Der Surrealismus in Deutschland (?), die im März 2014 in Münster stattfand, und der hier vorliegende, daraus hervorgegangene Sammelband greifen dieses Forschungsdesiderat auf.Dabei ist das Grundanliegen, den Surrealismus nicht als nationale, sondern die Ländergrenzen übergreifende, europäische Strömung zu begreifen und seinen Spuren im deutsch(sprachig)en Raum nachzuspüren. Die deutschen Künstler und Autoren geraten in den kunsthistorischen und literaturwissenschaftlichen Studien nicht als autarke, in sich geschlossene Gemeinschaft in den Blick, noch wird ein spezifisch deutsch-nationales Kriterium herausgearbeitet. Vielmehr wird gezeigt, wie die Künstler sich innerhalb des surrealistischen Feldes bewegen und welche Facetten sie zum gesamten Ismus beitragen