scholarly journals Progenitores del Vídeo. El Arte del Vídeo ante los Fantasmas de su Historia Familiar

2020 ◽  
Vol 8 (3) ◽  
pp. 227
Author(s):  
Arturo Rodríguez
Keyword(s):  
Video Art ◽  
Video Production ◽  
Artistic Creation ◽  
Avant Garde ◽  
Social Sphere ◽  
The Social ◽  
The Face ◽  
The One ◽  
The University ◽  
The Way

From the very beginning, museums and the audiovisual industry of television have nurtured the institutionalization process of video in the art domain.On the one hand, the influx of museums has been paramount when it comes to legitimating avant-garde discourses. However, they always showed misgivings in the face of certain practices supported on technology reproduction or “outlying” its coded space along the lines put forward by the video produced by artists.On the other hand, the domain of artistic creation, inasmuch as it belongs in the social sphere, has not been able to stay away of television’s influx and its powerful information, iconic and linguistic flow, just in the same way as contemporary creation has influenced the phenomenon of television.The paper “Coming to the terms with the frightful parent: video art and television” produced by John Wyver, historian and TV producer, as well as professor at the University of Westminster, provides the basis to study the way in which cultural criticism in the eighties exerted an influence in the development of the links between video art and television. This interaction in the form of some sort of domestic tension paved the way for the institutionalization of video production in the terms acknowledged nowadays.

scholarly journals Beuys� Chair and the Violence of the Other: Toward a Theory of Aesth-ethics

2017 ◽  
Vol 3 (1) ◽  
pp. 146
Author(s):  
Dror Pimentel
Keyword(s):  
The Other ◽  
Social Sphere ◽  
Works Of Art ◽  
Joseph Beuys ◽  
The Social ◽  
Phenomenological Perspective ◽  
The Subject ◽  
The One ◽  
Good And Evil ◽  
The Way

Most rare are those works of art that, in a simple visual gesture, succeed in formulating a dilemma that occupies culture as a whole. Such is the artwork of Joseph Beuys entitled Fat Chair. The work�viewed mainly from a phenomenological perspective�is comprised of two elements holding a tension: a chair on the one hand, and a lump of fat placed on top of it on the other. The tension between these elements, so the article argues, manifests the tension between two types of violence: following Benjamin, these are termed �the violence of the Father� and �the violence of the Other� (or in Hebrew, �the Violence of ha-Rav�). The violence of the Father refers mainly to the violence of culture: the violence of the concept and the category from the side of the object, and the violence of the law/name of the Father from the side of the subject. The violence of the Other, transgressing distinctions between good and evil and subject and object, is the violence of the pre-cultural and the primordial, before law and language. This primal violence cannot appear in its full presence, either in culture in general or in art in particular; it can only appear as a leftover and a spectre. Beuys' artwork manifests this aporetic appearance in a paradigmatic manner, and in this sense, it could serve as a paradigm for the possibility of hospitality in art. In fact, the article opens the way for an argument of a larger scale, according to which art, and not the social sphere�as Levinas maintains�should be viewed as the sphere of the� hospitality of the entirely Other. The study of such hospitality in art should therefore be termed �Aesth-ethics.�

The Nairobi Tradition of Literature

PMLA ◽  
2016 ◽  
Vol 131 (5) ◽  
pp. 1548-1551
Author(s):  
Godwin Siundu
Keyword(s):  
Nongovernmental Organizations ◽  
Research Agenda ◽  
Graduate Training ◽  
Natural Sciences ◽  
The Other ◽  
The Third ◽  
The Social ◽  
The Face ◽  
The One ◽  
The University

I Have Taught Literature at the University Of Nairobi Since 2009. Previously, I Taught at Masinde Muliro University and at Moi University. From my experience at the three universities, I can trace, in hindsight, two dominant influences on my knowledge of literature and expectations of how it ought to be conceived and taught. First is my graduate training at Moi University, in Kenya, and at the University of the Witwatersrand, in South Africa, where I was encouraged to see literature as a broad discipline that speaks to others in the humanities and in the social and natural sciences in terms of concerns, research methodology, and, especially, analytic tools. The second influence is the academic composition and orientation of the literature departments, as shaped by the politics of development. In the face of two competing forces—on the one hand, the Kenyan government and its preoccupation with development as an ideal and a pretext for de-emphasizing the teaching of some humanities disciplines and, on the other, the neoliberal political economy that gave rise to nongovernmental organizations' setting the scholarship research agenda in Kenya—literary academics seemed to be torn three ways: using the discipline and their knowledge of it to position themselves for government appointments, pursuing nongovernmental-organizations-funded research, or continuing to teach literature in the ways that they know. Those who chose the third option were also equipped with an institutional memory of the discipline as they were taught, the department, and its practices. Because, of these three groups, I have interacted the most with members of the third, my reflections here focus on them exclusively.

ALTRUISTIC AND EGOISTIC AGON IN THE EMOTIONAL CRISIS OF SUŠIĆ'S DRAMATIC PERSONS

2018 ◽  
Vol 28 (7) ◽  
pp. 2361-2365
Author(s):  
Almedina Čengić
Keyword(s):  
20Th Century ◽  
Oral Tradition ◽  
Historical Background ◽  
Historical Records ◽  
Artistic Creation ◽  
Avant Garde ◽  
Modern Process ◽  
Artistic Vision ◽  
Dramatic Characters ◽  
The One

The second half of the 20th century in Bosnian literature is marked by the new tendencies of avant-garde writers, who will create their work through a different form of artistic creation, compared to the one that was presented at the beginning of this period. It is important to clarify the specificity of the various procedures that have positively directed dramatic creativity towards the modern lines of European literary circles. Derviš Sušić (1925-1990.), the Bosnian-Herzegovinian tradition and the reality of images, presented in a completely new artistic vision, make oscillation, in the writer's creation, between the determinants of historical facts and the legacy of oral tradition. Derviš Sušić Within the avant-garde tendencies of contemporary writers of the regional region, which appear in the mid-20th century, Sušić dominates in his virtuous creations of dramatic situations and dilemmas, in which his protagonists act. In a specific presentation of crucial culmination points, within the framework of the process of "drama of the flow of consciousness," a modern process in the conduct of drama, this writer analytically approaches the individual's dialectical duplication. Through artistically shaped fragments taken from historical records, this literary virtuoso presents in his texts a culmination point of Bosnian survival, very picturesque dramatic shaped historical characters and crucial events. It is symptomatic that Susić's characters become prototypes of stage characters, without temporal or location restrictions, transmitting a universal message of a unique attitude about the value of human activity and existence, outperform stereotypical models recognizable in the additional drama literature. Through the colorful of seeing and a range of specific dramatic characters, without the diversity of their differentiation in national status or sociopolitical affiliation, this writer creates a special ambient effect in the construction of his poetic fabrics based on historical background. The task of this paper is to prove the causality and conditionality of altruistic (social) and egoistic (individual) agonies in the actions and actions of Sušić's characters, in the examples of dramatic texts "Veliki vezir" (1969) and "Posljednja ljubav Hasana Kaimija "(1973), as well as the influence of emotional indicators on the concrete initiation of the dramatic conflict. It is therefore very interesting to explore and verify the models that will dominantly dominate the regional scene for almost half a century and be accepted as models in the way of writing its contemporaries, among the readers' population, but also at the same time with very successful placement in the theater audience.

Emerson's Memory Loss

2017 ◽  
Author(s):  
Christopher Hanlon
Keyword(s):  
William James ◽  
Memory Loss ◽  
Margaret Fuller ◽  
Final Phase ◽  
Important Work ◽  
The Social ◽  
The Many ◽  
The One ◽  
Do So ◽  
The Way

Emerson’s Memory Loss is about an archive of texts documenting Emerson’s intellectual state during the final phase of his life, as he underwent dementia. It is also about the way these texts provoke a rereading of the more familiar canon of Emerson’s thinking. Emerson’s memory loss, Hanlon argues, contributed to the shaping of a line of thought in America that emphasizes the social over the solipsistic, the affective over the distant, the many over the one. Emerson regarded his output during the time when his patterns of cognition transformed profoundly as a regathering of focus on the nature of memory and of thinking itself. His late texts theorize Emerson’s experience of senescence even as they disrupt his prior valorizations of the independent mind teeming with self-sufficient conviction. But still, these late writings have succumbed to a process of critical forgetting—either ignored by scholars or denied inclusion in Emerson’s oeuvre. Attending to a manuscript archive that reveals the extent to which Emerson collaborated with others—especially his daughter, Ellen Tucker Emerson—to articulate what he considered his most important work even as his ability to do so independently waned, Hanlon measures the resonance of these late texts across the stretch of Emerson’s thinking, including his writing about Margaret Fuller and his meditations on streams of thought that verge unto those of his godson, William James. Such ventures bring us toward a self defined less by its anxiety of overinfluence than by its communality, its very connectedness with myriad others.

Ugliness and Beauty: the Politics of Landscape in Walter Greenwood's Love on the Dole

2013 ◽  
Vol 29 (1) ◽  
pp. 35-47
Author(s):  
Claire Warden
Keyword(s):  
Twentieth Century ◽  
Working Class ◽  
The Other ◽  
Surrounding Area ◽  
North West ◽  
Avant Garde ◽  
The North ◽  
The One ◽  
The University ◽  
Open Fields

The multi-spatial landscape of the North-West of England (Manchester–Salford and the surrounding area) provides the setting for Walter Greenwood's 1934 play Love on the Dole. Both the urban industrialized cityscape and the rural countryside that surrounds it are vital framing devices for the narrative – these spaces not simply acting as backdrops but taking on character roles. In this article Claire Warden reads the play's presentation of the North through the concept of landscape theatre, on the one hand, and Raymond Williams's city–country dialogism on the other, claiming that Love on the Dole is imbued with the revolutionary possibility that defines the very landscape in which it is set. From claustrophobic working-class kitchen to the open fields of Derbyshire, Love on the Dole has a sense of spatial ambition in which Greenwood regards all landscapes as tainted by the industrial world while maintaining their capacity to function independently. Ugliness and beauty, capitalist hegemony and socialistic hopefulness reside simultaneously in this important under-researched example of twentieth-century British theatre, thereby reflecting the ambivalent, shifting landscape of the North and producing a play that cannot be easily defined artistically or politically. Claire Warden is a Lecturer in Drama at the University of Lincoln. Her work focuses on peripheral British performances in the early to mid-twentieth century. She is the author of British Avant-Garde Theatre (Palgrave MacMillan, 2012) and is currently writing Modernist and Avant-Garde Performance: an Introduction for Edinburgh University Press, to be published in 2014.

scholarly journals Determining social capital by social accounting

2015 ◽  
Vol 6 (1) ◽  
pp. 47 ◽  
Author(s):  
Peter Friedrich
Keyword(s):  
Social Capital ◽  
Welfare Economic ◽  
Financial Capital ◽  
Working Capital ◽  
Economic Activities ◽  
Social Accounting ◽  
Ex Post ◽  
The Social ◽  
The One ◽  
The University

Although social capital has been often debated in the last 20 years, there is a widely accepted definition missing and the approaches to measuring its size are not very well-developed. Therefore, the definitions of social capital are stated and analysed, whether they are appropriately designed also for measurement purposes. We end up with a division between capital consisting of real capital as fixed and working capital and financial capital on the one hand, and capitals, which are referring to human capital and social capital in a narrow sense on the other hand. The last two are named here as social capital. The stock of the first kind of capital can be expressed as net capital when the liabilities are deducted is booked to the final social balance, as well as the remainder of the stock accounts. The stock of the second one can be identified as social assets reduced by social liabilities. Non-commercial values of economic activities are gathered in social accounting. With social accounting there are several approaches, however most of them are not developed to such an extent that the social capital can be determined through an adequate ex-post analysis. A welfare economic oriented approach comprising a bookkeeping system helps to determine social capital. Based on the willingness to pay approach a commercial bookkeeping system and an additional social bookkeeping were designed where the respective “private” and additional social capital were verified. Both together show the total social capital related to an economic subject. The result is illustrated by such a social accounting for the Faculty of Economics and Business Administration of the University of Tartu for 2006. The author discusses the limits and possibilities of this kind of social capital determination.

Trade and Financial Relations between India and Pakistan

2020 ◽  
pp. 161-182
Author(s):  
Pallavi Raghavan
Keyword(s):  
Terms Of Trade ◽  
The Other ◽  
Boundary Line ◽  
Nation States ◽  
The Face ◽  
To Come ◽  
The One ◽  
The Way

In this chapter, I chart out how partition shifted the terms of trade between two points now divided by the boundary line. While, on the one hand, both governments made lofty declarations of carrying out trade with one another as independent nation states—taxable, and liable to regulations by both states—on the other, they were also forced to come to a series of arrangements to accommodate commercial transactions to continue in the way that they had always existed before the making of the boundary. In many instances, in fact, it was actually impossible to physically stop the process of commercial transactions between both sides of the border, and the boundary line. Therefore, the question this chapter is concerned with is the extent to which both governments’ positions were amenable to the necessities of contingency, demand, and genuine emergency, in the face of a great deal of rhetoric about how the Indian and Pakistani economies had to be bolstered on their own merits.

Social Groups and Ranking: an Aspect of Ancient Indian Social Life Derived From the Pali Canonical Texts

1967 ◽  
Vol 10 (2) ◽  
pp. 278-316
Author(s):  
N.K. Wagle
Keyword(s):  
Triple System ◽  
Social Life ◽  
Social Groups ◽  
Group Affiliation ◽  
Social Ranking ◽  
Social Sphere ◽  
The Social ◽  
The One ◽  
Canonical Texts ◽  
The Buddha

AbstractIn summing up, a number of conclusions can be drawn. We have tried on the one hand to establish the various de facto social groups implied in the formulae of address, reference and salutation ascertaining the group affiliation of the persons involved. We have also tried to bring out the meaning of various terms and establish a triple system of ranking. The meaning attached to these terms, we may point out, is specifically interactional, and the proof of its validity lies only in its consistency. We have demonstrated this throughout our presentation of the data as well as the conclusions. Our conclusions mainly indicate a three-fold system of ranking. In the social sphere the brāhmanas successfully maintain their hostile equality with the Buddha. But in the religious and political fields, they are not as successful. In the religious field the Buddhist order more than holds its own and claims several distinguished brāhmanas within its fold. Politically too, the Buddha is less encumbered than the brāhmanas. Unlike them, he is not servile to the king. Despite their actual humility in the king's presence, in their mode of address the brāhmanas recognize no superior in any system of ranking, but at the most only equals. They and the Buddhists have an equal hold on the gahapatis, who represent the secular population, the prizes in the religious struggle. Having analysed the social groupings, we may further comment on them and see if we can relate our "inferred" social ranking of the groups to what is already stated about them in the texts. We may

On Disciplinary Finitude

PMLA ◽  
2017 ◽  
Vol 132 (3) ◽  
pp. 505-512 ◽  
Author(s):  
Jeffrey T. Schnapp
Keyword(s):  
Los Angeles ◽  
Architectural History ◽  
University Of California ◽  
Filippo Tommaso Marinetti ◽  
Speed Limits ◽  
Avant Garde ◽  
The Social ◽  
History Of ◽  
Social Environmental ◽  
The University

The year 2008 was one of fruitful disjunctions. I spent the fall teaching at Stanford but commuting to the University of California, Los Angeles, to cochair the inaugural Mellon Seminar in Digital Humanities. During the same period, I was curating—at the Canadian Center for Architecture, in Montreal—an exhibition devised to mark the centenary of the publication of “The Founding Manifesto of Futurism,” by Filippo Tommaso Marinetti. Whereas other centennial shows (at the Centre Pompidou, in Paris, and at the Palazzo Reale, in Milan) sought to celebrate the accomplishments and legacies of Marinetti's avant-garde, the Canadian exhibition, Speed Limits, was critical and combative in spirit, more properly futurist (though thematically antifuturist). It probed the frayed edges of futurism's narrative of modernity as the era of speed to reflect on the social, environmental, and cultural costs. An exhibition about limits, it looked backward over the architectural history of the twentieth century to look forward beyond the era of automobility.

scholarly journals Favouritism: Exploring the ‘uncontrolled’ spaces of the leadership experience

Leadership ◽  
2018 ◽  
Vol 15 (3) ◽  
pp. 381-397 ◽  
Author(s):  
Ofelia A Palermo ◽  
Ana Catarina Carnaz ◽  
Henrique Duarte
Keyword(s):  
Ethical Issues ◽  
Social Process ◽  
The Other ◽  
Structured Interviews ◽  
Organisational Justice ◽  
Other Hand ◽  
The Social ◽  
Leadership Experience ◽  
The One ◽  
The Way

In this paper, we argue that a focus on favouritism magnifies a central ethical ambiguity in leadership, both conceptually and in practice. The social process of favouritism can even go unnoticed, or misrecognised if it does not manifest in a form in which it can be either included or excluded from what is (collectively interpreted as) leadership. The leadership literature presents a tension between what is an embodied and relational account of the ethical, on the one hand, and a more dispassionate organisational ‘justice’ emphasis, on the other hand. We conducted 23 semi-structured interviews in eight consultancy companies, four multinationals and four internationals. There were ethical issues at play in the way interviewees thought about favouritism in leadership episodes. This emerged in the fact that they were concerned with visibility and conduct before engaging in favouritism. Our findings illustrate a bricolage of ethical justifications for favouritism, namely utilitarian, justice, and relational. Such findings suggest the ethical ambiguity that lies at the heart of leadership as a concept and a practice.

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