Changing Bike Mode Share Between Time Periods For Suffolk County, MA

This thesis looks at the impact of new bikeways on the rate of bicycle commuting among census tracts in the city of Boston, MA. Data from 2000 and averages from 2009-2013 are compared. Bikeways are negligible in the year 2000, but many were built after implementation of new policy in 2007. Data for 2009-2013 is interpolated into a common zonal scheme using 2000 census tract boundaries. Regression analysis is performed on socio-demographic and new bikeway variables. Results indicate that new bikeways are likely not cause of greater bike mode share in city of Boston

Anatomía de la memoria: literatura y políticas del recuerdo

This article set out to present the mutual relationship between two discourses that conceptualize the notion of memory: the theoretical-literary discourse and the politico-historical one. Literature, which is a constitutive element of the cultural memory system, plays two major roles in the society: it reflects the dominant tendencies in the collective memory, and secondly, it participates in the formation of individual, as well as collective, images of the past and the discourse that surrounds them. The study draws on, inter alia, the literary representations of memory in the works of Jorge Semprún (testimony) and Javier Cercas (postmemory). Both writers were keen on participating in the public debate on the policy of remembrance in Spain. This article focuses on the metaliterary and self-reflexive components of their writings and aims to position them in the wider theoretical context.This article set out to present the mutual relationship between two discourses that conceptualize the notion of memory: the theoretical-literary discourse and the politico-historical one. Literature, which is a constitutive element of the cultural memory system, plays two major roles in the society: it reflects the dominant tendencies in the collective memory, and secondly, it participates in the formation of individual, as well as collective, images of the past and the discourse that surrounds them. The study draws on, inter alia, the literary representations of memory in the works of Jorge Semprún (testimony) and Javier Cercas (postmemory). Both writers were keen on participating in the public debate on the policy of remembrance in Spain. This article focuses on the metaliterary and self-reflexive components of their writings and aims to position them in the wider theoretical context

Masculinity and phantasy in the prose of Javier Marías and Antonio Muñoz Molina

Wydział NeofilologiiRozważania zawarte w tej pracy dotyczą relacji dwóch kategorii: męskości i fantazmatu. Studia mają literaturoznawczy charakter, a przedmiot analizy stanowi proza dwóch współczesnych pisarzy hiszpańskich: Javiera Maríasa (1951) i Antonia Muñoza Moliny (1956). Męskość została potraktowana jako kategoria teoretyczna, ontologiczna. W pierwszym rozdziale pracy autorka przygląda się konceptualnej ewolucji znaczenia pojęcia „męskość”, przywołując najważniejsze współczesne propozycje problematyzacji jej istoty - począwszy od Freuda, który jako jeden z pierwszych uznał męskość za zjawisko godne teoretycznej refleksji, do najnowszych, interdyscyplinarnych koncepcji „post-”, podejmujących próbę definiowania męskiego podmiotu. Podstawowym narzędziem metodologicznym analizy konstrukcji tożsamości męskich bohaterów jest, wywodzące się z psychoanalitycznej teorii, pojęcie fantazmatu, któremu został poświęcony drugi rozdział teoretycznej części rozprawy. Autorka śledzi w nim najważniejsze etapy procesu kształtowania się znaczenia terminu fantazmat, szczególną uwagę poświęcając kwestii relacji fantazmatu i kategorii męskości, relacji problematyzowanej przede wszystkim przez Jacques’a Lacana. Lacan uczynił fantazmat częścią swojej oryginalnej koncepcji kształtowania się ludzkiej tożsamości, Freud natomiast od samego początku łączył go z literaturą, podkreślał narracyjną strukturę fantazmatów, badał ich obecność w tekstach literackich. Celem niniejszej pracy jest literaturoznawcza analiza fantazmatycznego rdzenia tożsamości męskich bohaterów prozy Javiera Maríasa i Antonio Muñoza Moliny.The considerations in this paper apply to the relationship of two categories: masculinity and phantasy. The studies have a literary character, and the subject of analysis is the prose of two contemporary Spanish writers: Javier Marías (b. 1951) and Antonio Muñoz Molina (b. 1956). Masculinity is treated as a theoretical and ontological category. The first chapter of the work examines the conceptual evolution of the meaning of “masculinity” as an idea, recalling the most important modern developments in the conceptualization of its essence; starting with Freud, who was one of the first to recognize masculinity as a phenomenon worthy of theoretical reflection to the latest interdisciplinary “post”– concepts which attempt to define the male subject. The basic methodological tool used in the analysis of the identity of male characters in the prose of Marías and Muñoz Molina is the notion of “phantasy” which is derived from psychoanalytic theory. The second chapter of the theoretical part traces the most important stages in the creation of the term “phantasy”, with particular attention to the issue of the relationship of phantasy and the category of masculinity; a relationship problematized primarily by Jacques Lacan. Lacan had made the notion of phantasy part of his concept of how human identity is shaped, while Freud, from the very beginning, linked it to literature, emphasized the narrative structure of phantasy and studied their presence in literary texts. The main aim of this work is a literary analysis of the phantasmatic core of the identity of male characters in the discussed prose

La eremitización a la luz de Agamben en cuatro novelas pre-pandémicas: Moshfegh, Houellebecq, Vilas, González

L’objectiu d’aquest article és l’anàlisi literària i comparativa de quatre novel·les publicades al mateix temps just abans del sorgiment de la pandèmia de la COVID-19, els protagonistes de les quals experimenten una crisi, una sensació de final, un esgotament en sentit ampli, que desencadenen en tots ells la necessitat de retirar-se del món i reflexionar sobre el mode en què viuen. Aquest acte es defineix amb el terme “eremitització”, proposat pel sociòleg polonès Marek Krajewski. L’article examina les representacions literàries d’aquest fenomen als textos mencionats, analitzant la gènesi, elements constructius i les conseqüències en cada cas. Seguidament, utilitzant principalment l’aparell teòric elaborat per Giorgio Agamben –conceptes com accídia, relació bios-zoé, katargeo, inoperativitat- reflexiona sobre el potencial contestatari de l’eremitització, prestant atenció especial a la tensió entre les categories de la vida quotidiana, la inacció i la productivitat.The aim of this article is to conduct a literary and comparative analysis of four novels published at the same time, just before the emergence of the COVID-19 pandemic, whose protagonists experience a crisis, a sense of temporal completion, and a widely understood exhaustion, which triggers in them the need to retreat from the world and reflect on their modes of life. This act is defined by the term “eremitisation”, as proposed by the Polish sociologist Marek Krajewski. The article examines the literary representations of this phenomenon in the texts in question, analysing its genesis, constituent elements, and the consequences brought about in each of the cases. Then, using mainly the theoretical apparatus elaborated by Giorgio Agamben—concepts such as acedia, bios-zoé relation, katargeo, inoperativity­­—the article reflects on the subversive potential of eremitisation, paying attention in particular to the tension between the categories of everyday life, inaction, and productivity. El objetivo de este artículo es el análisis literario y comparativo de cuatro novelas publicadas al mismo tiempo, justo antes del surgimiento de la pandemia de la COVID-19, cuyos protagonistas experimentan una crisis, una sensación de fin, un agotamiento ampliamente entendido, que desencadena en ellos la necesidad de retirarse del mundo y reflexionar sobre el modo en que viven. Este acto se define con el término «eremitización», propuesto por el sociólogo polaco Marek Krajewski. La autora examina las representaciones literarias de este fenómeno en los textos mencionados, analizando su génesis, elementos constitutivos y las consecuencias a las que en cada caso conduce. A continuación, utilizando principalmente el aparato teórico elaborado por Giorgio Agamben —conceptos como acedia, relación bios-zoé,katargeo, inoperosidad— reflexiona sobre el potencial contestatario de la eremitización, prestando especial atención a la tensión entre las categorías de la vida cotidiana, la inacción y la productividad

Vida ajetreada y materia vibrante en Siete casas vacías de Samanta Schweblin

El objetivo de este artículo es una lectura crítica de los cuentos de la colección Siete casas vacías (2015) de Samanta Schweblin desde la perspectiva del nuevo materialismo. Las herramientas metodológicas del estudio propuesto son dos categorías teóricas: “materia vibrante” de Jane Bennett y “trajín de cada día” (krzątactwo) de Jolanta Brach-Czaina. Partiendo de los conceptos mencionados, el artículo propone una interpretación de los relatos de Schweblin según la cual, de la constelación de escenas e imágenes paradójicas creadas por la escritora, emerge una visión filosófica coherente. Ésta corresponde a los presupuestos del nuevo materialismo, el cual, proponiendo una epistemología alternativa, desarrolla una conceptualización de una serie de paradojas ontológicas que serán discutidas en el artículo.   Palabras claves: nuevo materialismo, materia vibrante, Samanta Schweblin, paradojas ontológicas &nbsp

Estética y política en la obra de Sebastián Lelio

Art that addresses socio-political issues is exposed to various hazards. Its creators can easily fall into a moralizing or propagandistic tone, being accused of impoverishing ideologization, on the one hand, or opportunistic populism, on the other. In the case of this type of work, the discussions on the importance of the social problem addressed relegate aesthetic issues to the background, turning them, according to the opinion of some, into second-rate works, which serve a greater cause but lack real artistic value. These dilemmas, as he himself affirmed on many occasions, lie at the heart of Sebastián Lelio’s cinematographic creation. In his films, the Chilean director seeks to overcome the difficulties that come with the desire to tell a socially relevant story in a non-biased way that is both unique and universal. The director’s last three works touch on “urgent” subjects. Gloria (2013), Una mujer fantástica (2017), Disobedience (2018) portray figures excluded or placed on the margins of hegemonic society. Lelio confronts the non-normativity of his characters with a whole series of mechanisms of social discipline. The aim of the article will be the analysis of the director's artistic project – the characterization of its aesthetic qualities and its political consequences. In this task we will rely on the conceptual apparatus constructed on the basis of ideas taken from Jacques Rancière’s theory, the essential reference for any approach to the relationship between aesthetics and politics.Art that addresses socio-political issues is exposed to various hazards. Its creators can easily fall into a moralizing or propagandistic tone, being accused of impoverishing ideologization, on the one hand, or opportunistic populism, on the other. In the case of this type of work, the discussions on the importance of the social problem addressed relegate aesthetic issues to the background, turning them, according to the opinion of some, into second-rate works, which serve a greater cause but lack real artistic value. These dilemmas, as he himself affirmed on many occasions, lie at the heart of Sebastián Lelio’s cinematographic creation. In his films, the Chilean director seeks to overcome the difficulties that come with the desire to tell a socially relevant story in a non-biased way that is both unique and universal. The director’s last three works touch on “urgent” subjects. Gloria (2013), Una mujer fantástica (2017), Disobedience (2018) portray figures excluded or placed on the margins of hegemonic society. Lelio confronts the non-normativity of his characters with a whole series of mechanisms of social discipline. The aim of the article will be the analysis of the director's artistic project – the characterization of its aesthetic qualities and its political consequences. In this task we will rely on the conceptual apparatus constructed on the basis of ideas taken from Jacques Rancière’s theory, the essential reference for any approach to the relationship between aesthetics and politics.Art that addresses socio-political issues is exposed to various hazards. Its creators can easily fall into a moralizing or propagandistic tone, being accused of impoverishing ideologization, on the one hand, or opportunistic populism, on the other. In the case of this type of work, the discussions on the importance of the social problem addressed relegate aesthetic issues to the background, turning them, according to the opinion of some, into second-rate works, which serve a greater cause but lack real artistic value. These dilemmas, as he himself affirmed on many occasions, lie at the heart of Sebastián Lelio’s cinematographic creation. In his films, the Chilean director seeks to overcome the difficulties that come with the desire to tell a socially relevant story in a non-biased way that is both unique and universal. The director’s last three works touch on “urgent” subjects. Gloria (2013), Una mujer fantástica (2017), Disobedience (2018) portray figures excluded or placed on the margins of hegemonic society. Lelio confronts the non-normativity of his characters with a whole series of mechanisms of social discipline. The aim of the article will be the analysis of the director's artistic project – the characterization of its aesthetic qualities and its political consequences. In this task we will rely on the conceptual apparatus constructed on the basis of ideas taken from Jacques Rancière’s theory, the essential reference for any approach to the relationship between aesthetics and politics