scholarly journals José Antonio Corrales : la disolución del límite = José Antonio Corrales : The dissolution of the limit

2020 ◽  
pp. 160
Author(s):  
Nicolás Martín Domínguez
Keyword(s):  
El Paso ◽  
The Gaze ◽  
The Third ◽  
Small House

ResumenConocí a José Antonio Corrales a finales de 2009. Durante el último año de su vida le visité todas las semanas. Ante mis ojos fueron pasando sus proyectos. También los inéditos o descartados que nos permiten, con el paso del tiempo, ampliar el foco de la mirada descubriendo encuadres nue­vos en su manera de proyectar. Entre 1955 y 1957 Corrales proyecta y construye en solitario tres viviendas en Madrid. Dos poco conocidas y documentadas. La tercera inédita. En 1968 proyecta una pequeña vivienda para su familia a las afueras de Madrid, llamada La Viña. En tan solo once años, la arquitectura de Corrales evoluciona hacia una disolución de los límites que conlleva una relación transformada con el medio. Las tres primeras casas, se presentan como piezas netas, de límites marcados, esbeltos y transparentes. En la Viña, el límite abierto y cambiante, se convierte en el corazón de la casa, reflejando así su nueva manera de participar del lugar.AbstractI met José Antonio Corrales in late 2009. During the last year of his life, I visited him every week. I could see his projects pass in front of my eyes. Also the unpublished or discarded ones that allow us, with the passage of time, to widen the focus of the gaze, discovering new frames in its way of projecting. Between 1955 and 1957 Corrales projected and built three houses alone in Madrid. Two little known and documented. The third unpublished. In 1968 he plans a small house for his family on the outskirts of Madrid, called La Viña. In just eleven years, Corrales’ architecture evolves towards a dissolution of the limits that a transformed relationship with the environment entails. The first three houses are presented as net pieces, with marked, slender and transparent limits. In La Viña, the open and changing limit becomes the heart of the house, thus reflecting its new way of participating of the place.

scholarly journals Art Criticism and the State of Feminist Art Criticism

Arts ◽  
2020 ◽  
Vol 9 (1) ◽  
pp. 28
Author(s):  
Katy Deepwell
Keyword(s):  
Women Artists ◽  
Art Criticism ◽  
The State ◽  
Art World ◽  
Feminist Art ◽  
The Gaze ◽  
The Third ◽  
Fourth Part ◽  
State Of Art ◽  
First Offers

This essay is in four parts. The first offers a critique of James Elkins and Michael Newman’s book The State of Art Criticism (Routledge, 2008) for what it tells us about art criticism in academia and journalism and feminism; the second considers how a gendered analysis measures the “state” of art and art criticism as a feminist intervention; and the third, how neo-liberal mis-readings of Linda Nochlin and Laura Mulvey in the art world represent feminism in ideas about “greatness” and the “gaze”, whilst avoiding feminist arguments about women artists or their work, particularly on “motherhood”. In the fourth part, against the limits of the first three, the state of feminist art criticism across the last fifty years is reconsidered by highlighting the plurality of feminisms in transnational, transgenerational and progressive alliances.

scholarly journals Queen Aadahasounthary with Three Breasts or the Third Breast Identified with Personalities

2021 ◽  
Vol 6 (1) ◽  
pp. 107-115
Author(s):  
Sivagnanam Jeyasankar
Keyword(s):  
Sri Lanka ◽  
The Gaze ◽  
The Third ◽  
South Indian ◽  
History Of ◽  
The Temple

Myth of Queen with three breasts, Aadahasouthary of Batticaloa is an element in the history of Batticaloa, Sri Lanka. Her faith is different from Saivism and later she adopted to Saivism because of her new partner Kulakottan, a South Indian prince enter into Eastern Part of Sri Lanka and engaged in constructing a temple for lord Sivan. Queen aadahasounthary was angry with the intrusion and waged a war against the prince Kulakottan who was engaged in the temple construction without permission. When the Queen met the prince her third breast was disappeared and she lost her valour and became a “conventional woman” and fell in love with the prince as mentioned to her by a sage. Queen Aadahasounthary, now without the third breast lost herself and the place she managed once to her new guardian in the guise of a man king, prince kulakottan. This paper discuss the politics of women body in the gaze of men and the new status of the Queen and the place she managed earlier in the hands of a man as husband as well as ruler.

scholarly journals Peran Gender dalam Ritus Kusu Bue

HUMANIS ◽  
2020 ◽  
Vol 24 (2) ◽  
pp. 186
Author(s):  
Ida Ayu Putu Kartika Dewi ◽  
Ni Made Wiasti ◽  
Aliffiati .
Keyword(s):  
Data Analysis ◽  
Data Collection ◽  
Gender Roles ◽  
Ethnographic Research ◽  
Social Education ◽  
The Third ◽  
The Social ◽  
Small House ◽  
Ritual Process

Kusu bue rite’s a rite performed by women who have experience menstruation. Women will stay in a small house, called sao are. They cooperate with each other in every process of activity. The role of gender in the kusu bue rite also has implications for the Dona community. The formulation of the problem in this study are (1) how’s the role of gender in the implementation of the kusu bue ? (2) What are the implications of gender roles in the implementation of the kusu bue of the kusu bue rite to the Dona community? This study uses theories from Marwell and theories about the transitional rites and the inauguration ceremony of Van Gennep. Ethnographic research models,including data collection techniques through observation, interviews, literature, studies, and data analysis field. The results explained that the kusu bue ritual process lasted for eight days and seven nights. The procession begins with preparation, hen enters theses’e ritual leadig to Soromazi, to Lole Sao Are. On the second day the community performed the Waju Pare Kobho. On the third and sixth day, why would they goon a journey to find the needs of the girls. Then on the seventh day the community carried out the Bora Raa Weti and Woke Tewu rituals. On the last day the kusu bue girls will have a graduation party or wela ripe. The result of this rite to the Dona community.These implications are the implication in the social, education, deliberation,and consensusand religious fields.

The Metaphysical Dimension of Dialogicity

2016 ◽  
Vol 17 (1) ◽  
pp. 76-91
Author(s):  
Slobodanka Vladiv-Glover
Keyword(s):  
Salient Feature ◽  
Narrative Structure ◽  
Point Of View ◽  
Stream Of Consciousness ◽  
Structural Dimension ◽  
The Unconscious ◽  
Unconscious Processes ◽  
The Gaze ◽  
The Third ◽  
Definition Of

In this essay, a theoretical connection is posited between the “third type” of word in Mikhail Bakhtin’s typology of discourse, and the phenomenological gaze as defined by Maurice Merleau-Ponty. Starting from an aesthetic definition of perception, originating in Charles Baudelaire’s “Salon” series on art, the essay goes on to claim that in Dostoevsky’s works, Bakhtin uncovered the representation of the process of perception, encapsulated in the representation of “the word” (slovo) as a function of the unconscious processes of language. In Dostoevsky’s poetics, this represented word is the word in the stream-of-consciousness of his fictional characters which defines the embedded narrative structure of the polyphonic novel. However, Dostoevsky’s dialogic word, as described by Bakhtin, is an on-stage embodiment of dialogicity in the communication situation. This dialogic word transcends the structural dimension of narrative. The point of view, which Bakhtin describes as the entire mental orientedness («цeльнaя дуxoвнaя уcтaнoвкa») of the speaker, belongs to the phenomenology of “the gaze,” which is outlined in aesthetics and poststructural (psychoanalytic) theory as the salient feature of representation in the art and literature of modernity.

The Teaching of Spanish in the Third Grades of the El Paso Public Schools

Hispania ◽  
1954 ◽  
Vol 37 (4) ◽  
pp. 493 ◽  
Author(s):  
Carlos Rivera
Keyword(s):  
Public Schools ◽  
El Paso ◽  
The Third

Empathy and Ethics

2017 ◽  
pp. 59-90
Author(s):  
Anne Whitehead
Keyword(s):  
Human Rights ◽  
Virginia Woolf ◽  
Phenomenological Model ◽  
Rapid Growth ◽  
First Century ◽  
Critical Response ◽  
The Gaze ◽  
The Third ◽  
Susan Sontag ◽  
Early Twenty

This chapter outlines a second key context for the resurgence of interest in empathy: the rapid growth of interest in human rights discourses in the early twenty-first century. The first section, ‘Cultivating empathy’, reviews key claims made by human-rights scholars concerning the empathy-building qualities of fiction, before outlining the critical response to such claims and introducing Edith Stein’s phenomenological model of empathy as a promising framework. The second section, ‘Reading humanitarian campaigns’ reads side by side Sara Ahmed and Virginia Woolf to provide a feminist underpinning for an other-directed approach to empathy. The third section, ‘Positioning the empathetic gaze’ reads Susan Sontag alongside Pat Barker to argue that both writers are cognisant, in looking at another’s suffering, of the implication of the gaze in structures of power and privilege. The final section, ‘Empathy and the institution’, focuses on Pat Barker’s Life Class to ask where and when the scene of empathy is situated, and with what effects.

scholarly journals “Darkness is different for me now. I know all its depths and textures”: the panoptical gaze in Sarah Waters’s "Affinity"

2020 ◽  
Vol 18 ◽  
pp. 3-16
Author(s):  
Elsa Adán Hernández
Keyword(s):  
The Novel ◽  
Mutual Attraction ◽  
The Gaze ◽  
The Third ◽  
Social Invisibility

The aim of this essay is to analyse Sarah Waters’s novel Affinity (1999) from the perspective of the panoptical system of surveillance, based on the controlling power of the gaze, that was widely employed as a system of represión in Victorian society. It seeks to explore Milbank prison as a perfect example of Jeremy Bentham’s panopticon and Michel Foucault’s ideas about punishment and imprisonment. Drawing on Laura Mulvey’s notion of scopophilia, the essay goes on to explore the characteristics of the interaction and mutual attraction felt by two of the main characters, with the aim of proving that the gaze can be a powerful weapon to subjugate another person. Finally, it tackles the relevance of the third protagonist, Ruth Vigers, a lady’s maid whose job makes her invisible both to the readers and to other characters in the novel. The analysis shows that it is precisely her social invisibility that allows her to escape the gaze of this panoptical society and become the master puppeteer controlling everything from the shadows.

scholarly journals Grounding to Giving:

Lumen et Vita ◽  
2019 ◽  
Vol 10 (1) ◽  
pp. 18-31
Author(s):  
Michael Mookie C. Manalili
Keyword(s):  
Spiritual Exercises ◽  
Second Person ◽  
Face To Face ◽  
The Gaze ◽  
The Third ◽  
The World ◽  
Third Person ◽  
Jesuit Order ◽  
In The Beginning ◽  
The Third Person

Through its embodied systematic mysticism, the Spiritual Exercises of St. Ignatius has formed the Jesuit order and countless Ignatian educators. Upon analysis of the Principle and Foundation (§23) in the beginning and the Suscipe (§234) at the end, the movement from the philosophical universal to the particularity of 'this-ness' can be seen. The Principle and Foundation, both etymologically hinting at the prior [Latin: ‘principum’] and the ground [Latin: ‘fundare’], begins with a beautiful cosmology of how the world is oriented towards the return-gift back towards God. However, God is spoken of here in the third-person. Yet, by the time of the Suscipe [English: ‘receive’], the theme is still on the gifted-ness of life and world. However, God is addressed in the second-person here as if face-to-face – the Divine “You”. This movement from the universal to the particular invites the exercitant to gaze into the eyes of Christ Crucified. In doing so, particularly in the Third Week, the exercitant gazes into the iris of God who reflects back the gaze of Love - pointed at those Whom God loves, those in the margins. The Spiritual Exercises thus extends the invitation to incarnate the two-fold nature of the greatest commandment. As it is in the Second Ending of the Book of John, the invitation of gift is extended from the divine Vine to the branches: “Amas me? Pasce oveas meas. Sequere me. // Do you love me? Feed my sheep. Follow me.”

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