10,261 research outputs found

    Grasping nothing: a study of minimal ontologies and the sense of music

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    If music were to have a proper sense – one in which it is truly given – one might reasonably place this in sound and aurality. I contend, however, that no such sense exists; rather, the sense of music takes place, and it does so with the impossible. To this end, this thesis – which is a work of philosophy and music – advances an ontology of the impossible (i.e., it thinks the being of what, properly speaking, can have no being) and considers its implications for music, articulating how ontological aporias – of the event, of thinking the absolute, and of sovereignty’s dismemberment – imply senses of music that are anterior to sound. John Cage’s Silent Prayer, a nonwork he never composed, compels a rerethinking of silence on the basis of its contradictory status of existence; Florian Hecker et al.’s Speculative Solution offers a basis for thinking absolute music anew to the precise extent that it is a discourse of meaninglessness; and Manfred Werder’s [yearn] pieces exhibit exemplarily that music’s sense depends on the possibility of its counterfeiting. Inso-much as these accounts produce musical senses that take the place of sound, they are also understood to be performances of these pieces. Here, then, thought is music’s organon and its instrument

    The place where curses are manufactured : four poets of the Vietnam War

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    The Vietnam War was unique among American wars. To pinpoint its uniqueness, it was necessary to look for a non-American voice that would enable me to articulate its distinctiveness and explore the American character as observed by an Asian. Takeshi Kaiko proved to be most helpful. From his novel, Into a Black Sun, I was able to establish a working pair of 'bookends' from which to approach the poetry of Walter McDonald, Bruce Weigl, Basil T. Paquet and Steve Mason. Chapter One is devoted to those seemingly mismatched 'bookends,' Walt Whitman and General William C. Westmoreland, and their respective anthropocentric and technocentric visions of progress and the peculiarly American concept of the "open road" as they manifest themselves in Vietnam. In Chapter, Two, I analyze the war poems of Walter McDonald. As a pilot, writing primarily about flying, his poetry manifests General Westmoreland's technocentric vision of the 'road' as determined by and manifest through technology. Chapter Three focuses on the poems of Bruce Weigl. The poems analyzed portray the literal and metaphorical descent from the technocentric, 'numbed' distance of aerial warfare to the world of ground warfare, and the initiation of a 'fucking new guy,' who discovers the contours of the self's interior through a set of experiences that lead from from aerial insertion into the jungle to the degradation of burning human feces. Chapter Four, devoted to the thirteen poems of Basil T. Paquet, focuses on the continuation of the descent begun in Chapter Two. In his capacity as a medic, Paquet's entire body of poems details his quotidian tasks which entail tending the maimed, the mortally wounded and the dead. The final chapter deals with Steve Mason's JohnnY's Song, and his depiction of the plight of Vietnam veterans back in "The World" who are still trapped inside the interior landscape of their individual "ghettoes" of the soul created by their war-time experiences

    The Disputation: The Enduring Representations in William Holman Hunt's “The Finding of the Saviour in the Temple,” 1860

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    This interdisciplinary thesis problematizes the Jewish presence in the painting The Finding of the Saviour in the Temple (1860) by William Holman Hunt. This “Jewish presence” refers to characters within the painting, Jews who posed for the picture and the painting’s portrayal of Judaism. The thesis takes a phenomenological and hermeneutical approach to The Finding providing careful description and interpretation of what appears in the painting. It situates the painting within a newly configured genre of disputation paintings depicting the Temple scene from the Gospel of Luke (2:47 – 52). It asks two questions. Why does The Finding look the way it does? And how did Holman Hunt know how to create the picture? Under the rubric of the first question, it explores and challenges customary accounts of the painting, explicitly challenging the over reliance upon F.G. Stephens’s pamphlet. Additionally, it examines Pre-Raphaelite and Victorian religious contexts and bringing hitherto unacknowledged artistic contexts to the fore. The second question examines less apparent influences through an analysis of the originary Lukan narrative in conjunction with the under-examined genre of Temple “disputation” paintings, and a legacy of scholarly and religious disputation. This demonstrates a discourse of disputation informing The Finding over and above the biblical narrative. In showing that this discourse strongly correlates with the painting’s objectifying and spectacular properties, this thesis provides a new way to understand The Finding’s orientalism which is further revealed in its typological critical reworking of two Christian medieval and renaissance paintings. As a demonstration of the discourse, the thesis includes an examination of Jewish artists who addressed the theme of disputation overtly or obliquely thereby engaging with and challenging the assumptions upon which the disputation rests

    Building body identities - exploring the world of female bodybuilders

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    This thesis explores how female bodybuilders seek to develop and maintain a viable sense of self despite being stigmatized by the gendered foundations of what Erving Goffman (1983) refers to as the 'interaction order'; the unavoidable presentational context in which identities are forged during the course of social life. Placed in the context of an overview of the historical treatment of women's bodies, and a concern with the development of bodybuilding as a specific form of body modification, the research draws upon a unique two year ethnographic study based in the South of England, complemented by interviews with twenty-six female bodybuilders, all of whom live in the U.K. By mapping these extraordinary women's lives, the research illuminates the pivotal spaces and essential lived experiences that make up the female bodybuilder. Whilst the women appear to be embarking on an 'empowering' radical body project for themselves, the consequences of their activity remains culturally ambivalent. This research exposes the 'Janus-faced' nature of female bodybuilding, exploring the ways in which the women negotiate, accommodate and resist pressures to engage in more orthodox and feminine activities and appearances

    Towards a sociology of conspiracy theories: An investigation into conspiratorial thinking on Dönmes

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    This thesis investigates the social and political significance of conspiracy theories, which has been an academically neglected topic despite its historical relevance. The academic literature focuses on the methodology, social significance and political impacts of these theories in a secluded manner and lacks empirical analyses. In response, this research provides a comprehensive theoretical framework for conspiracy theories by considering their methodology, political impacts and social significance in the light of empirical data. Theoretically, the thesis uses Adorno's semi-erudition theory along with Girardian approach. It proposes that conspiracy theories are methodologically semi-erudite narratives, i.e. they are biased in favour of a belief and use reason only to prove it. It suggests that conspiracy theories appear in times of power vacuum and provide semi-erudite cognitive maps that relieve alienation and ontological insecurities of people and groups. In so doing, they enforce social control over their audience due to their essentialist, closed-to-interpretation narratives. In order to verify the theory, the study analyses empirically the social and political significance of conspiracy theories about the Dönme community in Turkey. The analysis comprises interviews with conspiracy theorists, conspiracy theory readers and political parties, alongside a frame analysis of the popular conspiracy theory books on Dönmes. These confirm the theoretical framework by showing that the conspiracy theories are fed by the ontological insecurities of Turkish society. Hence, conspiracy theorists, most readers and some political parties respond to their own ontological insecurities and political frustrations through scapegoating Dönmes. Consequently, this work shows that conspiracy theories are important symptoms of society, which, while relieving ontological insecurities, do not provide politically prolific narratives

    The Grapes of Wrath: An Artful Jurisprudence

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    By documenting the harsh realities of the era, The Grapes of Wrath (‘GOW’) calls to mind those distressing UN Country Reports that both describe and denounce avoidable landscapes of poverty, hunger, homelessness, and dispossession. Steinbeck embeds the novel’s harrowing images within an unforgiving framework of human rights violations, most of which flow directly from human greed. The novel’s prescient yet timeless warnings speak not only to the various humanitarian crises brought about by climate change and unethical commercial practices, but also to many ongoing, perennial global atrocities: corrupt political regimes, gendered injustices, ethnic cleansing, and displacement of entire populations. It is landscapes such as these that still serve to both spark and underpin refugee existence: the need for a compassionate system of asylum-granting, firmly grounded in human rights law, clearly remains as urgent now as it was in Steinbeck’s time. As witnesses to such chronic disregard for human dignity, readers of the novel are not only tasked with judging those responsible: we must also evaluate the perennial failings of the various global and domestic systems that have enabled and perpetuated such egregious rights violations. The final scene, drenched in symbolism, still serves as a quasi-courtroom: before the bared breast of a Lady Justice figure we become jurists, and cannot help apportioning blame for all that has been witnessed over the course of the Joad’s journeying. A close reading now, almost a century later, serves as a timely reminder that similar atrocities continue: migrant and refugee populations remain especially vulnerable, not least where they have been displaced by poverty or political crises from all that was once familiar. This article argues that the novel’s central focus on “social realism” demands much in the way of “moral and emotional effort” (Benson, 9) from the reader: we should leave the book with nothing less than a highly “active compassion for the dispossessed” (Wyatt, 12). It is perhaps best viewed as a collection of first-hand witness testimonies, akin to those gathered and collated by the United Nations (UN) various Committees and which serve to reveal, record, and address the horrendously fine detail of abject human rights violations and their impacts upon the most vulnerable. It is Steinbeck’s “consistently catchy eyewitness quality” (De Mott, xiii) which both brings and retains this timeless sense of urgency and immediacy, without directing any clear response: it is up to the conscience of the individual reader to determine how best to process or address the various challenges presented

    The Adirondack Chronology

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    The Adirondack Chronology is intended to be a useful resource for researchers and others interested in the Adirondacks and Adirondack history.https://digitalworks.union.edu/arlpublications/1000/thumbnail.jp

    The Reputations of Sir Francis Burdett

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    Materialism: A Caring Obituary

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    The notion of materialism initially appears in the writings of its Christian opponents in late seventeenth-century England. Only in eighteenth-century France materialism is first posthumously claimed by a catholic priest, Meslier, and then by authors such as La Mettrie and d’Holbach, at the risk of persecution and imprisonment: Diderot enjoys the hospitality of the fortress of Vincennes for rearranging the materialist stance within his sensualist multiverse. In the nineteenth century, Marx reshapes materialism as part of his critique to decontextualized knowledge. Stirner’s discontent with naturalistic objectivity anticipates Nietzsche’s rejection of matter in favour of practices: Engels’ historical materialism and his ahistorical dichotomic construction of materialism versus idealism are instead embraced by Lenin via Plekhanov, and they are further simplified by Stalin. Nietzsche’s approach is recovered by Foucault, Deleuze, and Derrida, who challenge both political and theoretical representation. More recently, Barad recasts this challenge into a processual vocabulary, which renews the semantic constellation of realism, materialism, and materiality. Whilst not dismissing Barad’s new tools, the essay suggests raising the wager: it proposes to extend its own genealogical practice, which reconnects materialism (and matter) with its historical process of production, to any other theoretical object. This recomposition may not only disentangle us from the lexicon of entities – including materialism and matter – but it may also help to construct a novel and potentially hegemonic language of practices

    Photography and Aesthetics: a critical study on visual and textual narratives in the lifework of Sergio LarraĂ­n and its impact in 20th century Europe and Latin America

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    The main focus of this study is a theoretical exploration of critical approaches applicable to the work of the Chilean photographer Sergio LarraĂ­n (1931-2012). It presents analytical tools to contextualise and understand the importance and impact of his work in photographic studies and his portrayal of twentieth-century Latin American and European culture. It inspects in depth a large portion of his photo work, which is still only partially published and mostly reduced to his "active" period as a photojournalist, aside from the personal photographic exploration of his early and late career (C. Mena). This extended material creates a broader scope for understanding his photographs and him as a canonical photographer. This study analyses the photographer's trajectory as discourses of recollection of historical memory in time (Mauad) to trace LarraĂ­n's collective memory associated with his visual production. Such analysis helps decode his visual imagery and his projection and impact on the European and Latin American culture. This strategy helps solve a two fold problem: firstly, it generates an interpretive consistency to understand the Chilean's photographic practice; secondly, it explores the power of images as an aesthetic experience in the installation of nationalist ideologies and the creation of imaginaries (B. Anderson 163)
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