Telepathos: Medium Cool Romanticism

2006 ◽  
Author(s):  
Celeste Langan
Keyword(s):  
Critical Value ◽  
Media History ◽  
Vanishing Point ◽  
Romantic Poetry ◽  
Walter Ong ◽  
Primary Orality ◽  
As If

Abstract This essay argues for the critical value of situating Romantic poetry—particularly as it’s theorized by Wordsworth and Scott—as a “medium” between the two extremes that often shape accounts of media history: the “primary orality” of Walter Ong and the “techno-informatic vanishing point” of aesthetics recently described by Alan Liu in The Laws of Cool. I propose that Sir Walter Scott’s story, “My Aunt Margaret’s Mirror,” offers a “supernatural” or occulted account of how literature operates as a kind of telepathic medium, enabling readers to be “affected by absent things as if they were present.” But it offers at the same time, in its almost anachronistic play with the concept of “resolution” as a feature of the televisual screen, an account of all perception—both “immediate” and mediated—as a process of discretization and resynthesis that works remarkably like Wordsworth’s “digital” theory of meter.

scholarly journals Visualisasi dan Transformasi Kebertubuhan Dalam Film Animasi Planes (Ke Arah Pembentukan Mitos Baru)

Panggung ◽  
2015 ◽  
Vol 25 (4) ◽  
Author(s):  
Acep Iwan Saidi ◽  
Agung Eko Budiwaspada
Keyword(s):  
Semiotic Analysis ◽  
Living Things ◽  
History Of ◽  
History Of Culture ◽  
Primary Orality ◽  
The Mind ◽  
As If

ABSTRACTThis research is entitled “Visualization and Transformation of Embodiment in the Film of Planes Animation”. As an animation film, Planes is interesting because it is using inanimate objects, in this case the planes, as characters. This fact indicates that the character transformation is done by an animator, from the character of inanimate objects in to live character. By using the methods of structural and semiotic analysis, found that the transformation is done not only for personification (it is made as if the inanimate objects becomes alive). In the Planes, “the living things” not only exist in the mind as imagination, but it is exist out of the mind, as an autonomous reality. Based on that, Planes is the animation film which opens space for creating a new myth in the history of culture. Like the fable as a myth in the tradition of primary orality, Planes allows the formation of myth in digital oral tradition.Key Words: Transformation, visualization, embodiment, personification, metaphor, tradition, myth ABSTRAKPenelitian ini bertajuk “Visualisasi dan Transformasi Kebertubuhan dalam Film Animasi Planes”.Sebagai film animasi, Planes menarik karena menggunakan benda-benda mati, dalam hal ini pesawat, sebagai tokoh cerita. Fakta ini mengindikasikan dilakukannya transformasi karakte r ole h animator, yakni dari karakte r “yang mati” ke “yang hidup”.Dengan menggunakan metode analisis structural dan semiotik, ditemukan bahwa transformasi tersebut dilakukan melampaui sarana retorika personifikasi (membuatseolah- olah yang mati menjadi hidup).Di dalam Planes, “yang hidup” itu tidak berada di dalam pikiran dan imajinasi apresiator sebagai yang seolah-olah, melainkan hadir di luar pikiran, berdiri sendiri sebagai realita sotonom. Berdasarkan hal itu, Planes merupakan film animasi yang membuka ruang bagi terciptanya mitos baru dalam sejarah cerita. Jika fable merupakan mitos dalam tradisi kelisanan primer, Planes memungkinkan terbentuknya mitos dalam tradisi lisan digital.Kata kunci: transformasi, visualisasi, kebertubuhan, personifikasi, metafora, tradisi, mitos.

Debussy's phantom sounds

1998 ◽  
Vol 10 (1) ◽  
pp. 67-96 ◽  
Author(s):  
Carolyn Abbate
Keyword(s):  
Vanishing Point ◽  
Musical Sound ◽  
Object A ◽  
Per Se ◽  
The Mind ◽  
As If

Towards the end of a life spent meditating on music, philosopher Vladimir Jankélévitch wrote that ‘music is the silence of words, just as poetry is the silence of prose’. With this lapidary remark, he bottled up essences of French symbolist musical doctrines, their elevation of music above language, their impulse to urge poetry towards the condition of musical sound, and their sense that music is ineffable. ‘And the ineffable’, Jankélévitch wrote, ‘cannot be expressed because there are infinite and interminable things to be said of it’. Denying that music was inarticulate – that what it invokes isindicible, unable to be said – he saw instead a hall of sonorous mirrors, saturated with implications and suggestions diat draw the mind on to a vanishing point that can never be reached. Music has the perfect apparitional quality that others would deem characteristic of symbolsper se, as that which materialises in the distance and cannot be caught when we journey towards its meaning: it will always recede, leaving us with our glowing trail of assumed connotations. Thus symbolist literature, with its rhapsodies to musical mystery, dealt profitably in poetic images of suggestive but unimaginable sound. Such sounds have their most famous incarnation in the melody of Mallarmé's faun's flute, repository for all that cannot be thought, said or remembered. Mallarme created a poetic symbol, verbally couched, which as symbolper seborrows the ineffability of music. It is a mirage, which we approach and lose even as we imagine its meaning. By choosing amusicalobject (a flute melody), Mallarmé drew doubly on music's apparitional quality — as if to say: even if the impossible could occur and we were to grasp the symbol and its single luminous meaning, hearing what the flute plays, that sound, like all music, would merely send us wandering onwards again.

scholarly journals Coleridge’s Visions of 1816: the Political Unconscious and the Poetic Fragment

2013 ◽  
Author(s):  
Tim Fulford
Keyword(s):  
The Political ◽  
Political Unconscious ◽  
Romantic Poetry ◽  
Tintern Abbey ◽  
Relationship Of ◽  
The Relationship ◽  
Point Of Departure ◽  
As If

Taking as its point of departure the little-known fact that Coleridge was jailed as a Jacobin pro-French spy during his Scottish tour of 1803, this article explores the issue of the relationship of the fragmentary poems he published in 1816 to the political and personal contexts in which they had been composed years earlier. It speculates that what makes a Coleridgean fragment a fragment is what is left out—contextual material that the author could or would not admit into the published text because it configured divided loyalties, about which he was ashamed and guilty. Contributing to a debate about the ideological function of significant absences in Romantic poetry that Marjorie Levinson provoked by her discussion of Wordsworth’s “Tintern Abbey,” the article argues that Coleridge came to practise textual severance—publishing poems and their contexts separately, as if unrelated to each other, so that their origin in writing about which he was guilty and anxious—on political grounds and personal—was not apparent. How conscious this severance was is, at this distance, undecidable: what is clear is that some of the context returned in disguised form, as if publication served unwittingly as a refraction of material that Coleridge had repressed; as a result, the published text contained more than Coleridge explicitly declared and, perhaps, knew.

Coleridge and the Luminous Gloom: An Analysis of the “Symbolical Language” in “The Rime of the Ancient Mariner”

PMLA ◽  
1960 ◽  
Vol 75 (3) ◽  
pp. 238-244 ◽  
Author(s):  
Elliott B. Gose
Keyword(s):  
Time And Space ◽  
Romantic Poetry ◽  
The World ◽  
Lyrical Ballads ◽  
The Senses ◽  
The Right ◽  
The Mind ◽  
Window Pane ◽  
As If

Speaking of the “plan of the ‘Lyrical Ballads’” in Chapter 14 of his Biographia Literaria, Coleridge pointed out that while Wordsworth was to deal with “the wonders of the world before us,” he himself was to try to connect the human truth of “our inward nature” with the “shadows of imagination.” The fruitfulness of this connection is evidenced by “The Ancient Mariner”; its aesthetic basis was analyzed by Coleridge at a later date: “The romantic poetry,” he decided, appeals “to the imagination rather than to the senses and to the reason as contemplating our inward nature, the working of the passions in their most retired recesses.” By “exciting our internal emotions,” the poet “acquires the right and privilege of using time and space as they exist in the imagination, obedient only to the laws which the imagination acts by.” Philosophically, Coleridge's transcendentalism is obviously responsible for this assertion of the superiority of the mind over nature; he had remarked its psychological basis as early as 1805:In looking at objects of Nature while I am thinking, as at yonder moon dim-glimmering through the dewy window-pane, I seem rather to be seeking, as it were asking for, a symbolical language, for something within me that already and for ever exists, than observing anything new. Even when that latter is the case, yet still I have always an obscure feeling as if that new phenomenon were the dim awakening of a forgotten or hidden truth of my inner nature. (Anima Poetae, p. 136).

Improvement of an artificial test substrate technique for evaluation of em immunocytochemical labeling

1987 ◽  
Vol 45 ◽  
pp. 762-763
Author(s):  
G. D. Gagne ◽  
M. F. Miller
Keyword(s):  
Bovine Serum Albumin ◽  
Serum Albumin ◽  
Bovine Serum ◽  
Artificial Substrate ◽  
Chemical Fixation ◽  
As If

We recently described an artificial substrate system which could be used to optimize labeling parameters in EM immunocytochemistry (ICC). The system utilizes blocks of glutaraldehyde polymerized bovine serum albumin (BSA) into which an antigen is incorporated by a soaking procedure. The resulting antigen impregnated blocks can then be fixed and embedded as if they are pieces of tissue and the effects of fixation, embedding and other parameters on the ability of incorporated antigen to be immunocyto-chemically labeled can then be assessed. In developing this system further, we discovered that the BSA substrate can also be dried and then sectioned for immunolabeling with or without prior chemical fixation and without exposing the antigen to embedding reagents. The effects of fixation and embedding protocols can thus be evaluated separately.

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