scholarly journals Amelia Jones, Body Art: Performing the Subject. Minneapolis, University of Minnesota Press, 1998, 329 pp., 63 black-and-white illus.

1997 ◽  
Vol 24 (2) ◽  
pp. 75
Author(s):  
Jayne Wark
Keyword(s):  
Body Art ◽  
University Of Minnesota ◽  
Black And White ◽  
The Subject

scholarly journals Lisbon in the sixteenth century: decoding the Chafariz d’el Rei

Race & Class ◽  
2018 ◽  
Vol 60 (2) ◽  
pp. 63-81
Author(s):  
Stefan Halikowski Smith
Keyword(s):  
Sixteenth Century ◽  
Northern Europe ◽  
Public Square ◽  
Black And White ◽  
Black Residents ◽  
The Subject ◽  
Portuguese Society

An anonymous sixteenth-century painting of the King’s Fountain in the Lisbon Alfama, Chafariz d’el Rei, recently the subject of speculation over its provenance and date, has also been of interest because of its depiction of so many black and white figures together, from all social strata and walks of life and in many (often water-related) trades in a public square. It very obviously suggests that black residents of Lisbon at that time, if originating from the trade in slaves, had been able to make their way as freedmen and women into Portuguese society. With careful reading of the figures in the painting against other written and painted portrayals from the time, the author attempts to deduce if this was an accurate depiction of Lisbon in the 1500s, or whether the painter might have distorted reality to render Lisbon as a ludic or exotic space – or indeed to disparage it. The painter himself might well have come from northern Europe.

Particulars of His Life: An Obituary for B. F. Skinner

1990 ◽  
Vol 3 ◽  
pp. 30-31
Author(s):  
Leo Marai
Keyword(s):  
Assistant Professor ◽  
Harvard University ◽  
Adaptive Behaviour ◽  
University Of Minnesota ◽  
Indiana University ◽  
Major Work ◽  
Hamilton College ◽  
The Subject ◽  
Learning Principles ◽  
The University

Burrhus Frederic Skinner was born on the 20th March 1904 in Susquehanna, Pennsylvania; he died on the 18th August 1990 at Auburn Hospital, Cambridge Massachussetts.The man whose name is synonymous with behaviourism became interested in the subject through the works of the American behavioural psychologist John B. Watson and the Russian physiologist Ivan P. Pavlov. But after graduating from Hamilton College in 1926, his first interest was not psychology. He first tried his hand at fiction and poetry before eventually concluding that his talents lay elsewhere.Skinner earned his doctorate from Harvard University in 1931 and remained at that university as a researcher until 1936, investigating the adaptive behaviour of organisms to environmental stimuli. In 1937 he joined the University of Minnesota as an Assistant Professor; it was in Minnesota that he wrote his first major work, The Behavior of Organisms (1938), in which he presented the principles of operant conditioning. In 1945 he was appointed Professor at Indiana University; there he wrote Walden Two (1948), a utopian treatment of how society might be based on learning principles--simultaneously fulfilling his earlier ambitions in the field of literature. In 1948 Skinner returned to Harvard, where he remained until his death--some 16 years past his “retirement” in 1974.

scholarly journals The New Gulliver: Russian Mountains and Soviet Fantasmagoria

Slovo ◽  
2019 ◽  
Vol To the East of Pixar :... ◽  
Author(s):  
Pascal Vimenet
Keyword(s):  
Cultural Context ◽  
The Political ◽  
Roller Coaster ◽  
Feature Film ◽  
Avant Garde ◽  
Black And White ◽  
Mise En Scene ◽  
International Audience ◽  
The Subject ◽  
Homo Sovieticus

International audience Новый Гулливер (1935), первый черно-белый советскиймультипликационно-игровой фильм, режиссера Александра Птушко, не былдо сих пор предметом специального исследования. Нижеследующее являетсяего контекстуальным, биографическим, равно как и кинематографическим анализом. Творческий путь Птушко (1900-1973) дается в новом освещении, особенно 1920-30 годы, на которые приходится становление его кино.Осуществив постановку Это случилось на стадионе (1928) и Властелинбыта (1932), Птушко принял руководство секцией мультипликационногофильма на студии Совкино, ставшей Москинокомбинат, затем Мосфильм.Подробно рассматривается политико-культурный контекст, в период созданияего игрового фильма, между 1927 и 1935 годами, который сводит воедино всёмногообразие советского авангарда, но и является свидетелем торжествадогмы соцреализма. Фильм Птушко оказался восприимчив к теориям бурлескаоснователей Фабрики эксцентрического актера (ФЭКС). Превращениеперсонажей фильма Птушко в кукол-марионеток, символическое обыгрываниемасштабов могло зародиться в недрах этого движения. Но как сумел «НовыйГулливер», этот «фильм-сказка» обмануть политический контекст ипротивостоять сиренам соцреализма или отклониться от известныхшаблонных кодов? Птушко избирает философскую повесть, усугубленнуюполитическим памфлетом, что дает ему законное основание привязать чудесноек политическому. Смелая экранизация Свифта, московский дорогостоящийкинофильм, с его полуторатысячей шарнирных кукол, сотнями пластилиновыхфигурок, их сочетание с игровым кино, и два десятка массовых сцен претендуетна соперничество с «Кинг Конгом». Своим остроумием и развлекательностьюфильм Птушко вызывал восхищение Чарли Чаплина. Данное исследованиепрепарирует аллегорию – держащий каркас фильма, и стремитсяидентифицировать в кинопостановке всё то, в чем отголоском дают о себе знатьсоветские времена. И когда оказывается, что гимн лиллипутов, это воспеваниеотвратительного монархизма, жутковатым образом предвосхищает ОдуСталину 1939 года, то совершенно внятно становится, что Новый Гулливерне столько выставляет на показ всепобедительность homo sovieticus, сколькоделает из истории опасный аттракцион падений и взлетов и внедряет в неёсубверсивное понятие ухронии. The New Gulliver (1935), the first black and white Soviet animatedfeature film directed by Alexander Ptusko, has not been the subject of a specific studyso far. The following is contextual, biographical, as well as filmic analysis. It offers anew light on the route of Ptusko (1900-1973), especially on the 1920-1930 whichsees emerge his cinema. After having realized It Arrived at the Stadium (1928)and The Master of Everyday Life (1932), Ptusko took the lead of the section of theanimated film of the Sovkino studios become Moskinokombinat, then Mosfilm. Thepolitico-cultural context of the emergence of his feature film, 1927 and 1935, whichbrings together all the diversity of the Soviet avant-garde but sees the triumph of thedogma of socialist realism, is examined at length. Ptusko’s film seems receptive to theburlesque theories of the founders of the FEKS. The puppetisation of the characters inPtusko’s film, the symbolic games of scale, may have originated in this movement. Buthow could The New Gulliver, this « film-tale », have imposed itself in the politicalcontext and resist the realistic socialist sirens or divert certain codes? Ptusko choosesa philosophical tale doubled by a political pamphlet that authorizes him to link themarvelous to the political. An audacious adaptation of Swift, a Muscovite spectacular,The New Gulliver aims to compete, with its 1 500 puppets articulated, hundreds ofplastic figurines, their combination to the real shot and its 20 sets, with King Kong.Ptusko’s film provokes Chaplin’s admiration for his facetiousness. The study dissects theallegory that structures the film and seeks to identify in the staging of everything thatechoes the Soviet present. And when it appears that the Lilliputian hymn, the songof the hated kingship, anticipates in an unsettling way The Ode to Stalin of 1939, itbecomes certain that The New Gulliver, more than to demonstrate the invincibility ofthe homo sovieticus, transforms the history in a roller coaster and makes penetrate theexplosive concept of uchronia. Le Nouveau Gulliver (1935), premier long métrage d’animationsoviétique noir et blanc, réalisé par Aleksandr Ptouchko, n’a pas fait l’objetd’études spécifiques jusqu’ici. Celle qui suit est contextuelle, biographique, toutautant qu’analyse filmique. Elle propose un nouvel éclairage sur l’itinéraire dePtouchko (1900-1973), particulièrement sur les années 1920-1930 qui voitémerger son cinéma. Après avoir réalisé C’est arrivé au stade (1928) et Le Maîtredu quotidien (1932), Ptouchko prend la tête de la section du film animé des studiosSovkino devenus Moskinokombinat, puis Mosfilm. Le contexte politico-cultureld’émergence de son long métrage, entre 1927 et 1935, qui met en présence toutela diversité de l’avant-garde soviétique mais voit triompher le dogme du réalismesocialiste, est longuement examiné. Le film de Ptouchko semble réceptif aux théoriesburlesques des fondateurs de la FEKS. La marionnettisation des personnages dufilm de Ptouchko, les jeux symboliques d’échelle ont peut-être pris leur sourcedans ce mouvement. Mais comment Le Nouveau Gulliver, ce « ciné-conte », a-t-ilpu s’imposer dans le contexte politique et résister aux sirènes réalistes socialistesou en détourner certains codes ? Ptouchko choisit un conte philosophiquedoublé d’un pamphlet politique qui l’autorise à lier le merveilleux au politique.Audacieuse adaptation de Swift, superproduction moscovite, Le Nouveau Gulliverambitionne de rivaliser, avec ses 1 500 marionnettes articulées, ses centaines defigurines en plastiline, leur combinaison à la prise de vue réelle et ses vingt décors,avec King-Kong. Le film de Ptouchko provoque l’admiration de Chaplin, quien apprécie l’esprit facétieux. L’étude dissèque l’allégorie qui structure le film ets’attache à repérer dans la mise en scène tout ce qui fait écho au présent soviétique.Et quand il apparaît que l’hymne lilliputien, chant de la royauté honnie, anticipede manière troublante L’Ode à Staline de 1939, il devient certain que Le NouveauGulliver, plus que de démontrer l’invincibilité de l’homo sovieticus, transformel’histoire en montagnes russes et y fait pénétrer le concept explosif de l’uchronie.

scholarly journals Epistemic Roots, Universal Routes and Ontological Roofs of African “Ritual Archives”: Disciplinary Formations in African Thought

2021 ◽  
Vol 3 (1) ◽  
pp. 1-41
Author(s):  
Oluwatoyin Vincent Adepoju
Keyword(s):  
Spiritual Development ◽  
Belief System ◽  
Image Theory ◽  
Way Of Life ◽  
African Art ◽  
Black And White ◽  
The Subject ◽  
Political Economic ◽  
The Relationship ◽  
Working Out

 One may compose an essay on another essay, and possibly an even longer one than the essay being studied, long as that one is, when one is confronted with one of those things one has to say something about after encountering them. “Ritual Archives”, the climatic conclusion of the account in The Toyin Falola Reader ( Austin: Pan African University, 2018), of the efforts of Africa and its Americas Diaspora to achieve political, economic, intellectual and cultural individuality, is a deeply intriguing, ideationally, structurally and stylistically powerful and inspiring work, rich with ideas and arresting verbal and visual images. His focus is Africa and its Diaspora, but his thought resonates with implications far beyond Africa, into contexts of struggle for plurality of vision outside and even within the West, the global dominance of whose central theoretical constructs inspires Falola’s essay. “Ritual Archives”, oscillates between the analytical and the poetic, the ruminative and the architectonic, expressive styles pouring out a wealth of ideas, which, even though adequately integrated, are not always adequately elaborated on. This essay responds to the resonance of those ideas, further illuminating their intrinsic semantic values and demonstrating my perception of the intersections of the concerns they express with issues beyond the African referent of “Ritual Archives”. This response is organized in five parts, representing my understanding of the five major thematic strategies through which the central idea is laid out and expanded. 316 Oluwatoyin Vincent Adepoju The first section, “Developing Classical African Expressions as Sources of Locally and Universally Valid Theory” explores Falola’s advocacy for an expanded cultivation of theory from Africa created and Africa inspired expressive forms. “Epistemic and Metaphysical Integrity in Ifá”, the second part, examines his argument for a re-centering of studies in classical African thought within the epistemic and metaphysical frames of those bodies of knowledge, using the Yoruba origin Ifá system of knowledge, spiritual development and divination as an example, an illustration I analyze through my own understanding of the cognitive and metaphysical framework of Ifá. The third unit, “Falola’s Image Theory and Praxis, Image as Archive, Image as Initiator”, demonstrates Falola’s dramatization of the cognitive possibilities of works of art as inspirers of theory, exemplified by a figurine of the Yoruba origin òrìṣà cosmology, the deity Esu. This is the most poetic and one of the most imaginatively, ideationally evocative and yet tantalizingly inadequately elaborated sections of “Ritual Archives”, evoking continuities between Yoruba philosophy, òrìṣà cosmology and various bodies of knowledge across art and image theory and history, without expanding on the ideas or building them into a structure adequately responsive to the promise of the ideas projected, a foundation I contribute to developing by elucidating my understanding of the significance of the ideas and their consonance with related conceptions and issues from Asian, Western and African cultures. I also demonstrate how this section may contribute to clarification of the nature of Yoruba philosophy understood as a body of ideas on the scope of human intelligibility and the relationship between that philosophy and òrìṣà cosmology, an expansive view of the cosmos developed in relation to the philosophy. This is a heuristic rather than an attempt at a definitive distinction and is derived from the relationship between my practical and theoretical investigation of Yoruba epistemology and Falola’s exploration, in “Ritual Archives”, of a particularly strategic aspect of òrìṣà cosmology represented by Esu. The distinction I advance between Yoruba philosophy and òrìṣà cosmology and the effort to map their interrelations is useful in categorizing and critically analyzing various postulates that constitute classical Yoruba thought. This mapping of convergence and divergence contributes to working out the continuum in Yoruba thought between a critical and experiential configuration and a belief system. The fourth section, “The Institutional Imperative”, discusses Falola’s careful working out of the institutional implications of the approach he advocates of developing locally and universally illuminating theory out of endogenous African cultural forms. The fifth part, “Imagistic Resonance”, presents Falola’s effort to make the Toyin Falola Reader into a ritual archive, illustrating his vision for African art as an inspirer of theory, by spacing powerful black and white pictures of forms of this art, mainly sculptural but also forms of Epistemic Roots, Universal Routes and Ontological Roofs 317 clothing, largely Yoruba but also including examples from other African cultures, throughout the book. Except for the set of images in the appendix, these artistic works are not identified, nor does the identification of those in the appendix go beyond naming them, exclusions perhaps motivated by the need to avoid expanding an already unusually big book of about 1,032 pages of central text. I reproduce and identify a number of these artistic forms and briefly elaborate on their aesthetic force and ideational power, clarifying the theoretical formations in which they are embedded and exploring the insights they could contribute to theory beyond their originating cultures. “Ritual Archives” is particularly important for me because it elucidates views strategic to my own cognitive explorations and way of life but which I have not been able to articulate with the ideational comprehensiveness and analytical penetration Falola brings to the subject of developing theory from endogenous African cultural expressions, exemplified by Ifá and art, two of my favorite subjects

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