Ian G. Roberts
- Published in print:
- 2005
- Published Online:
- September 2007
- ISBN:
- 9780195168211
- eISBN:
- 9780199788453
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195168211.001.0001
- Subject:
- Linguistics, Syntax and Morphology
This work provides an analysis of word order and clause structure in Welsh, within the context of a minimalist version of principles and parameters theory. The central issue is the analysis of VSO ...
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This work provides an analysis of word order and clause structure in Welsh, within the context of a minimalist version of principles and parameters theory. The central issue is the analysis of VSO order, the only unmarked clausal order in Welsh. The question is: which values of which parameters of Universal Grammar determine VSO order? Behind this basic descriptive goal, there are two theoretical questions. The first has to do with the conditions of adequacy on parameters: these must be both typologizable and learnable. The second concerns the Extended Projection Principle (EPP). Developing the conception of this principle in Chomsky (2000, 2001), it is concluded that it is a parametrized property of the C-system and/or the I-system, and that it seems to be intrinsically connected to the defective nature of certain functional heads. Successive chapters deal with the analysis of VSO orders, the Welsh Case-agreement system as it applies to both subjects and objects, the ‘verbal noun’, and the nature of the C-system. The last chapter takes up the related but distinct question of the theoretical status of head-movement, arguing that this may be construed as movement to a specifier position followed by morphological reanalysis of adjacent heads. Throughout, Welsh is compared to the other Celtic languages, and to the Romance and Germanic languages. Comparison with Romance is particularly revealing in relation to the agreement system, and comparison with Germanic in relation to C-system.Less
This work provides an analysis of word order and clause structure in Welsh, within the context of a minimalist version of principles and parameters theory. The central issue is the analysis of VSO order, the only unmarked clausal order in Welsh. The question is: which values of which parameters of Universal Grammar determine VSO order? Behind this basic descriptive goal, there are two theoretical questions. The first has to do with the conditions of adequacy on parameters: these must be both typologizable and learnable. The second concerns the Extended Projection Principle (EPP). Developing the conception of this principle in Chomsky (2000, 2001), it is concluded that it is a parametrized property of the C-system and/or the I-system, and that it seems to be intrinsically connected to the defective nature of certain functional heads. Successive chapters deal with the analysis of VSO orders, the Welsh Case-agreement system as it applies to both subjects and objects, the ‘verbal noun’, and the nature of the C-system. The last chapter takes up the related but distinct question of the theoretical status of head-movement, arguing that this may be construed as movement to a specifier position followed by morphological reanalysis of adjacent heads. Throughout, Welsh is compared to the other Celtic languages, and to the Romance and Germanic languages. Comparison with Romance is particularly revealing in relation to the agreement system, and comparison with Germanic in relation to C-system.
Johanna Malt
- Published in print:
- 2004
- Published Online:
- October 2011
- ISBN:
- 9780199253425
- eISBN:
- 9780191698132
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199253425.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies, 20th-century Literature and Modernism
In a speech given in Prague in 1935, André Breton asked, ‘Is there, properly speaking, a left-wing art capable of defending itself?’. But despite his conviction that surrealism did indeed offer such ...
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In a speech given in Prague in 1935, André Breton asked, ‘Is there, properly speaking, a left-wing art capable of defending itself?’. But despite his conviction that surrealism did indeed offer such an art, Breton always struggled to make a theoretical connection between the surrealists' commitment to the cause of revolutionary socialism and the form that surrealist art and literature took. This book explores ways in which such a connection might be drawn, addressing the possibility of surrealist works as political in themselves and drawing on ways in which they have been considered as such by Marxists such as Walter Benjamin and Theodor Adorno. Encompassing Breton's and Louis Aragon's textual accounts of the object, as well as paintings and the various kinds of objet surréaliste produced from the end of the 1920s, it mobilises the concept of the fetish in order to consider such works as meeting points of surrealism's psychoanalytic and revolutionary preoccupations. Reading surrealist works of art and literature as political is not the same as knowing the surrealist movement to have been politically motivated. The revolutionary character of surrealist work is not always evident; indeed, the works themselves often seem to express a rather different set of concerns. As well as offering a new perspective on familiar and relatively neglected works, this book recuperates the gap between theory and practice as a productive space in which it is possible to recontextualise surrealist practice as an engagement with political questions on its own terms.Less
In a speech given in Prague in 1935, André Breton asked, ‘Is there, properly speaking, a left-wing art capable of defending itself?’. But despite his conviction that surrealism did indeed offer such an art, Breton always struggled to make a theoretical connection between the surrealists' commitment to the cause of revolutionary socialism and the form that surrealist art and literature took. This book explores ways in which such a connection might be drawn, addressing the possibility of surrealist works as political in themselves and drawing on ways in which they have been considered as such by Marxists such as Walter Benjamin and Theodor Adorno. Encompassing Breton's and Louis Aragon's textual accounts of the object, as well as paintings and the various kinds of objet surréaliste produced from the end of the 1920s, it mobilises the concept of the fetish in order to consider such works as meeting points of surrealism's psychoanalytic and revolutionary preoccupations. Reading surrealist works of art and literature as political is not the same as knowing the surrealist movement to have been politically motivated. The revolutionary character of surrealist work is not always evident; indeed, the works themselves often seem to express a rather different set of concerns. As well as offering a new perspective on familiar and relatively neglected works, this book recuperates the gap between theory and practice as a productive space in which it is possible to recontextualise surrealist practice as an engagement with political questions on its own terms.
Stephen R. Anderson
- Published in print:
- 2005
- Published Online:
- September 2007
- ISBN:
- 9780199279906
- eISBN:
- 9780191707131
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199279906.003.0007
- Subject:
- Linguistics, Syntax and Morphology
This chapter poses the question of whether or not it was correct for Jakob Wackernagel — whose classic discussion of second-position clitics in the earliest Indo-European languages has been so often ...
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This chapter poses the question of whether or not it was correct for Jakob Wackernagel — whose classic discussion of second-position clitics in the earliest Indo-European languages has been so often cited — to suggest a connection between these clitics and another set of second-position phenomena, the verb-second regularities of Modern German and a number of other languages. It argues that while Wackernagel's own notion of the explanatory connection was undoubtedly incorrect, there is indeed a deep link, and the morphosyntactic apparatus used to describe second-position clitics can provide an account of verb second in German, Icelandic, Breton, and other languages.Less
This chapter poses the question of whether or not it was correct for Jakob Wackernagel — whose classic discussion of second-position clitics in the earliest Indo-European languages has been so often cited — to suggest a connection between these clitics and another set of second-position phenomena, the verb-second regularities of Modern German and a number of other languages. It argues that while Wackernagel's own notion of the explanatory connection was undoubtedly incorrect, there is indeed a deep link, and the morphosyntactic apparatus used to describe second-position clitics can provide an account of verb second in German, Icelandic, Breton, and other languages.
Ian G. Roberts
- Published in print:
- 2005
- Published Online:
- September 2007
- ISBN:
- 9780195168211
- eISBN:
- 9780199788453
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195168211.003.0005
- Subject:
- Linguistics, Syntax and Morphology
This chapter deals with the nature and structure of the C-system in Welsh and Breton. The central question is whether the EPP holds at the C-level in these languages (since earlier chapters have ...
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This chapter deals with the nature and structure of the C-system in Welsh and Breton. The central question is whether the EPP holds at the C-level in these languages (since earlier chapters have shown that it is inoperative in IP). This entails a detailed discussion of Germanic verb-second, since it has often been proposed that the obligatory XP-movement into the C-system that makes up part of this phenomenon is a consequence of the EPP. First, the Welsh system of clause-initial particles is compared with the V2 system found in Germanic, and it is argued that the two systems are very similar at the relevant level of abstraction. Second, the Breton system is introduced. This system resembles that of Welsh in all respects except for one crucial one: it makes use of ‘long verb-movement’ rather than assertion particles. This movement is shown to be a genuine non-local case of head-movement. Both Welsh and Breton are argued to share a ‘filled-Fin’ requirement with V2 Germanic: this observation is then accounted for in terms of the EPP.Less
This chapter deals with the nature and structure of the C-system in Welsh and Breton. The central question is whether the EPP holds at the C-level in these languages (since earlier chapters have shown that it is inoperative in IP). This entails a detailed discussion of Germanic verb-second, since it has often been proposed that the obligatory XP-movement into the C-system that makes up part of this phenomenon is a consequence of the EPP. First, the Welsh system of clause-initial particles is compared with the V2 system found in Germanic, and it is argued that the two systems are very similar at the relevant level of abstraction. Second, the Breton system is introduced. This system resembles that of Welsh in all respects except for one crucial one: it makes use of ‘long verb-movement’ rather than assertion particles. This movement is shown to be a genuine non-local case of head-movement. Both Welsh and Breton are argued to share a ‘filled-Fin’ requirement with V2 Germanic: this observation is then accounted for in terms of the EPP.
Gonzalo Fernández de Oviedo
- Published in print:
- 2011
- Published Online:
- September 2011
- ISBN:
- 9780813035406
- eISBN:
- 9780813038377
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813035406.003.0023
- Subject:
- History, World Early Modern History
This chapter relates the misfortunes on land experienced by the members of Licentiate Lucas Vázquez de Ayllón's fleet. Those who survived decided to come to the Hispaniola islands. To that effect, ...
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This chapter relates the misfortunes on land experienced by the members of Licentiate Lucas Vázquez de Ayllón's fleet. Those who survived decided to come to the Hispaniola islands. To that effect, they put the licentiate's body in a lighter or barge to bring it to his home in Santo Domingo or to the town of Puerto Plata, where he also had property. However, at sea the surviving ships of the fleet ran into a great storm and they had to jettison the licentiate's body. Of the 500 men who left Puerto Plata with the licentiate to settle that new land, somewhat less that 150 made port in Hispaniola. All in all, 350 men or more lost their lives. The first ship to return, the Bretón, with some Dominican friars on board, arrived at Puerto Plata after twenty-one days, having lost its decking and practically submerged.Less
This chapter relates the misfortunes on land experienced by the members of Licentiate Lucas Vázquez de Ayllón's fleet. Those who survived decided to come to the Hispaniola islands. To that effect, they put the licentiate's body in a lighter or barge to bring it to his home in Santo Domingo or to the town of Puerto Plata, where he also had property. However, at sea the surviving ships of the fleet ran into a great storm and they had to jettison the licentiate's body. Of the 500 men who left Puerto Plata with the licentiate to settle that new land, somewhat less that 150 made port in Hispaniola. All in all, 350 men or more lost their lives. The first ship to return, the Bretón, with some Dominican friars on board, arrived at Puerto Plata after twenty-one days, having lost its decking and practically submerged.
Ceri Sullivan
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780199547845
- eISBN:
- 9780191720901
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199547845.003.0007
- Subject:
- Literature, 17th-century and Restoration Literature
The conscience has a logical (albeit reluctant) nature in Donne, Herbert, and Vaughan. They see it as a legal activity, which can break down. There were, however, other models of the conscience which ...
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The conscience has a logical (albeit reluctant) nature in Donne, Herbert, and Vaughan. They see it as a legal activity, which can break down. There were, however, other models of the conscience which could have been chosen by the three. This chapter looks at Catholic and Protestant meditations by Robert Southwell, Thomas Lodge, Henry Constable, William Alabaster, Nicholas Breton, and Gervase Markham. Their narrators, often in feminine form, exchange glances with God or melt into tears in front of him. They weep tears of penitence which appear to be as joyful as if no sin were involved. In them, the looked at and the looker change places in a ceaseless chiasmus of glances. By contrast, Donne, Herbert, and Vaughan rehearse their failure to weep and see, and so keep a space for themselves in any judgement in their actions. The conscience of these three poets remains verbal, judgemental, and dryly masculine.Less
The conscience has a logical (albeit reluctant) nature in Donne, Herbert, and Vaughan. They see it as a legal activity, which can break down. There were, however, other models of the conscience which could have been chosen by the three. This chapter looks at Catholic and Protestant meditations by Robert Southwell, Thomas Lodge, Henry Constable, William Alabaster, Nicholas Breton, and Gervase Markham. Their narrators, often in feminine form, exchange glances with God or melt into tears in front of him. They weep tears of penitence which appear to be as joyful as if no sin were involved. In them, the looked at and the looker change places in a ceaseless chiasmus of glances. By contrast, Donne, Herbert, and Vaughan rehearse their failure to weep and see, and so keep a space for themselves in any judgement in their actions. The conscience of these three poets remains verbal, judgemental, and dryly masculine.
James King
- Published in print:
- 2016
- Published Online:
- January 2018
- ISBN:
- 9781474414500
- eISBN:
- 9781474421874
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474414500.001.0001
- Subject:
- Art, Art History
As an artist, an impresario, a biographer and a collector, Roland Penrose (1900–1984) is a key figure in the study of modern art in England. This book explores the intricacies of Penrose's life and ...
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As an artist, an impresario, a biographer and a collector, Roland Penrose (1900–1984) is a key figure in the study of modern art in England. This book explores the intricacies of Penrose's life and work, tracing the profound effects of his upbringing in a Quaker household on his values, the early influence of Roger Fry, and his friendships with Max Ernst, André Breton and other surrealists, especially Paul Éluard. Penrose's conflicted relationship with Pablo Picasso, his tireless promotion of surrealism and the production of his own surrealist art are also discussed. Penrose's complex professional and personal lives are handled with a deftness of touch, including his pacifism, his work as a biographer and art historian, as well as his unconventionality, especially in his two marriages — including that to Lee Miller — and his numerous love affairs.Less
As an artist, an impresario, a biographer and a collector, Roland Penrose (1900–1984) is a key figure in the study of modern art in England. This book explores the intricacies of Penrose's life and work, tracing the profound effects of his upbringing in a Quaker household on his values, the early influence of Roger Fry, and his friendships with Max Ernst, André Breton and other surrealists, especially Paul Éluard. Penrose's conflicted relationship with Pablo Picasso, his tireless promotion of surrealism and the production of his own surrealist art are also discussed. Penrose's complex professional and personal lives are handled with a deftness of touch, including his pacifism, his work as a biographer and art historian, as well as his unconventionality, especially in his two marriages — including that to Lee Miller — and his numerous love affairs.
Theodore Zeldin
- Published in print:
- 1993
- Published Online:
- October 2011
- ISBN:
- 9780198221777
- eISBN:
- 9780191678493
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198221777.001.0001
- Subject:
- History, European Modern History
This is the first volume of a two-volume reinterpretation of France's achievement as a nation and of the individual experience of the French. This book tries to explain French idiosyncrasies, ...
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This is the first volume of a two-volume reinterpretation of France's achievement as a nation and of the individual experience of the French. This book tries to explain French idiosyncrasies, enthusiasms, and prejudices. It investigates their attitudes and behaviour over a wide range of activities. Volume I scrutinizes the way of thinking and of talking adopted by the French, their powerful sense of national identity, and their ambivalent feelings about foreigners. It also shows what it meant to be a Breton or a Provencal, an Alsation or an Auvergnat.Less
This is the first volume of a two-volume reinterpretation of France's achievement as a nation and of the individual experience of the French. This book tries to explain French idiosyncrasies, enthusiasms, and prejudices. It investigates their attitudes and behaviour over a wide range of activities. Volume I scrutinizes the way of thinking and of talking adopted by the French, their powerful sense of national identity, and their ambivalent feelings about foreigners. It also shows what it meant to be a Breton or a Provencal, an Alsation or an Auvergnat.
Johanna Malt
- Published in print:
- 2004
- Published Online:
- October 2011
- ISBN:
- 9780199253425
- eISBN:
- 9780191698132
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199253425.003.0002
- Subject:
- Literature, Film, Media, and Cultural Studies, 20th-century Literature and Modernism
The point of departure in this chapter is the fundamental question of the possibility of a revolutionary art. What can writers and artists contribute to the cause of a Communist proletarian ...
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The point of departure in this chapter is the fundamental question of the possibility of a revolutionary art. What can writers and artists contribute to the cause of a Communist proletarian revolution? Though this may seem a very general, pragmatic, and perhaps ambitious place to start, it serves to establish the parameters of the debate in terms of Marxist cultural theory. The chapter sets out a brief account of André Breton's theory of the surrealist revolution, and sketches its possible positions in relation to the Communist revolution itself. The chapter's intention in doing this is not to rehearse a set of well-established surrealist tenets, and certainly not to retrace the movement's involvement with the Communist Party, but rather to establish the limitations of an approach based on individual or collective political engagement.Less
The point of departure in this chapter is the fundamental question of the possibility of a revolutionary art. What can writers and artists contribute to the cause of a Communist proletarian revolution? Though this may seem a very general, pragmatic, and perhaps ambitious place to start, it serves to establish the parameters of the debate in terms of Marxist cultural theory. The chapter sets out a brief account of André Breton's theory of the surrealist revolution, and sketches its possible positions in relation to the Communist revolution itself. The chapter's intention in doing this is not to rehearse a set of well-established surrealist tenets, and certainly not to retrace the movement's involvement with the Communist Party, but rather to establish the limitations of an approach based on individual or collective political engagement.
Johanna Malt
- Published in print:
- 2004
- Published Online:
- October 2011
- ISBN:
- 9780199253425
- eISBN:
- 9780191698132
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199253425.003.0004
- Subject:
- Literature, Film, Media, and Cultural Studies, 20th-century Literature and Modernism
Surrealist theory and practice in the 1920s and 1930s was caught between two poles. In the early days of the movement, much of its activity centred on the pursuit of automatism in various forms, ...
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Surrealist theory and practice in the 1920s and 1930s was caught between two poles. In the early days of the movement, much of its activity centred on the pursuit of automatism in various forms, including the automatic writing at which Robert Desnos so dangerously excelled, as well as non-verbal forms such as the game of ‘cadavre exquis’ in which each participant added a new body part to a creature without seeing what previous players had drawn. The early issues of La Révolution surrealiste contained many accounts of actual dreams, and the general emphasis was on the completest possible elimination of all traces of rational construction from the resulting products of the creative process. The various writings of André Breton and others on the question of the object have much to reveal about the surrealists' ambivalence towards the principle of revolutionary action.Less
Surrealist theory and practice in the 1920s and 1930s was caught between two poles. In the early days of the movement, much of its activity centred on the pursuit of automatism in various forms, including the automatic writing at which Robert Desnos so dangerously excelled, as well as non-verbal forms such as the game of ‘cadavre exquis’ in which each participant added a new body part to a creature without seeing what previous players had drawn. The early issues of La Révolution surrealiste contained many accounts of actual dreams, and the general emphasis was on the completest possible elimination of all traces of rational construction from the resulting products of the creative process. The various writings of André Breton and others on the question of the object have much to reveal about the surrealists' ambivalence towards the principle of revolutionary action.
Johanna Malt
- Published in print:
- 2004
- Published Online:
- October 2011
- ISBN:
- 9780199253425
- eISBN:
- 9780191698132
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199253425.003.0006
- Subject:
- Literature, Film, Media, and Cultural Studies, 20th-century Literature and Modernism
This chapter addresses what happens when language is introduced into the picture-quite literally-in the form of the poème-objet, which combines text with three-dimensional collage. André Breton's own ...
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This chapter addresses what happens when language is introduced into the picture-quite literally-in the form of the poème-objet, which combines text with three-dimensional collage. André Breton's own practice in the domain of object creation diverges from that of Salvador Dalí and others in one crucial respect: the incorporation of language into the surrealist object. The chapter considers how Breton's own involvement with visual forms of surrealist activity is motivated by particular aims, notably that of including language in the category of phenomena to be reappraised and inscribed in a dialectic of subjective and objective forces. For in seeking to prove the materialist credentials on which surrealism's political engagement relied, Breton created a class of poème-objet in which a power struggle takes place between word and image, between concealment and display, between fetishism and sublimation.Less
This chapter addresses what happens when language is introduced into the picture-quite literally-in the form of the poème-objet, which combines text with three-dimensional collage. André Breton's own practice in the domain of object creation diverges from that of Salvador Dalí and others in one crucial respect: the incorporation of language into the surrealist object. The chapter considers how Breton's own involvement with visual forms of surrealist activity is motivated by particular aims, notably that of including language in the category of phenomena to be reappraised and inscribed in a dialectic of subjective and objective forces. For in seeking to prove the materialist credentials on which surrealism's political engagement relied, Breton created a class of poème-objet in which a power struggle takes place between word and image, between concealment and display, between fetishism and sublimation.
Ulrich Baer
- Published in print:
- 2014
- Published Online:
- January 2015
- ISBN:
- 9780823256280
- eISBN:
- 9780823261338
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823256280.003.0012
- Subject:
- Literature, Poetry
A reflection on Rilke’s nostalgic view of a pre-modern time when we had a deeper relationship to hand-made objects and things
A reflection on Rilke’s nostalgic view of a pre-modern time when we had a deeper relationship to hand-made objects and things
Lisi Schoenbach
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780195389845
- eISBN:
- 9780199918393
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195389845.003.0002
- Subject:
- Literature, 20th-century Literature and Modernism
Chapter One traces philosophical treatments of habit from Aristotle and Burke through Walter Pater and Viktor Shklovsky. It examines pragmatism’s distinctively modern contributions to this genealogy ...
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Chapter One traces philosophical treatments of habit from Aristotle and Burke through Walter Pater and Viktor Shklovsky. It examines pragmatism’s distinctively modern contributions to this genealogy and offers extended readings of the role of habit in Dewey and William James. The chapter argues that pragmatic modernism shares with the historical avant-garde a focus on the relation between habit and shock, and that-despite meaningful differences in tone and emphasis-both consider the consequences of this relation for social change. The chapter concludes with a consideration of the surprising affinities between representations of habit in André Breton’s Nadja (1928), Walter Benjamin’s essays on Surrealism, and Deweyan pragmatism.Less
Chapter One traces philosophical treatments of habit from Aristotle and Burke through Walter Pater and Viktor Shklovsky. It examines pragmatism’s distinctively modern contributions to this genealogy and offers extended readings of the role of habit in Dewey and William James. The chapter argues that pragmatic modernism shares with the historical avant-garde a focus on the relation between habit and shock, and that-despite meaningful differences in tone and emphasis-both consider the consequences of this relation for social change. The chapter concludes with a consideration of the surprising affinities between representations of habit in André Breton’s Nadja (1928), Walter Benjamin’s essays on Surrealism, and Deweyan pragmatism.
Adam Lively
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781474442244
- eISBN:
- 9781474491075
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474442244.003.0008
- Subject:
- Philosophy, Philosophy of Mind
This essay begins by exploring how the “immersive objectivity” of the photographic image highlighted by the Surrealists tends to collapse distinctions between what is internal and external to ...
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This essay begins by exploring how the “immersive objectivity” of the photographic image highlighted by the Surrealists tends to collapse distinctions between what is internal and external to consciousness. It goes on to show how, in the photography-incorporating fictions of Georges Rodenbach and W.G. Sebald, perceptual immersion in the photograph engenders a “dysfunctional” state of melancholic stasis in the viewer, problematizing assumptions about agency common in many contemporary accounts of distributed cognition. It concludes by arguing that the internalization of the photographic image by consciousness, as exemplified in these modernist responses to photography, with their topologically unstable dynamics as between that which is “inside” and “outside” consciousness, strikingly demonstrate the relevance to contemporary debates over the “extended mind” of Bergson’s argument that the mind should be conceived not in spatial but in durational terms, as a continuous evolution of heterogeneous states.Less
This essay begins by exploring how the “immersive objectivity” of the photographic image highlighted by the Surrealists tends to collapse distinctions between what is internal and external to consciousness. It goes on to show how, in the photography-incorporating fictions of Georges Rodenbach and W.G. Sebald, perceptual immersion in the photograph engenders a “dysfunctional” state of melancholic stasis in the viewer, problematizing assumptions about agency common in many contemporary accounts of distributed cognition. It concludes by arguing that the internalization of the photographic image by consciousness, as exemplified in these modernist responses to photography, with their topologically unstable dynamics as between that which is “inside” and “outside” consciousness, strikingly demonstrate the relevance to contemporary debates over the “extended mind” of Bergson’s argument that the mind should be conceived not in spatial but in durational terms, as a continuous evolution of heterogeneous states.
Nicholas Zair
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199609925
- eISBN:
- 9780191741579
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199609925.003.0010
- Subject:
- Linguistics, Historical Linguistics, Syntax and Morphology
It is usually assumed that *-uu̮- and *-ou̮- before a vowel fell together as *-ou̮- in Proto-Celtic, which nonetheless gave three different reflexes in Welsh and two in Vannetais e.g. *tou̮e 〉 Middle ...
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It is usually assumed that *-uu̮- and *-ou̮- before a vowel fell together as *-ou̮- in Proto-Celtic, which nonetheless gave three different reflexes in Welsh and two in Vannetais e.g. *tou̮e 〉 Middle Welsh teu ‘yours’, *lou̮ero- 〉 MW. llawer ‘large number, enough’, *suu̮ano- 〉 MW. huan ‘sunlight’. According to Schrijver (Studies in British Celtic historical phonology (Amsterdam/Atlanta, GA: Rodopi 1995): 326-45) these developments were governed both by the position of the British accent, and by the vowel following *-ou̮-. This article shows that *-uu̮- and *-u̮- remained separate in British and hence in Proto-Celtic, although they may have fallen together in Irish and Gaulish. In British they subsequently fell together under the accent, but gave different reflexes in pretonic position in Welsh and Vannetais.Less
It is usually assumed that *-uu̮- and *-ou̮- before a vowel fell together as *-ou̮- in Proto-Celtic, which nonetheless gave three different reflexes in Welsh and two in Vannetais e.g. *tou̮e 〉 Middle Welsh teu ‘yours’, *lou̮ero- 〉 MW. llawer ‘large number, enough’, *suu̮ano- 〉 MW. huan ‘sunlight’. According to Schrijver (Studies in British Celtic historical phonology (Amsterdam/Atlanta, GA: Rodopi 1995): 326-45) these developments were governed both by the position of the British accent, and by the vowel following *-ou̮-. This article shows that *-uu̮- and *-u̮- remained separate in British and hence in Proto-Celtic, although they may have fallen together in Irish and Gaulish. In British they subsequently fell together under the accent, but gave different reflexes in pretonic position in Welsh and Vannetais.
Sian Mitchell
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781474456012
- eISBN:
- 9781474490672
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474456012.003.0006
- Subject:
- Film, Television and Radio, Film
Sian Mitchell’s chapter traces the legacy of Frenchpoetic realist director Jean Vigo (1905–34) in Gondry’s work. Drawing on the surrealist theories of André Breton, this chapter argues that early ...
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Sian Mitchell’s chapter traces the legacy of Frenchpoetic realist director Jean Vigo (1905–34) in Gondry’s work. Drawing on the surrealist theories of André Breton, this chapter argues that early surrealism has influenced not only Gondry’s visual style, but also his thematic interests. This chapter notes how Gondry aesthetically explores the surrealist concept of l’amour fou (mad love), which appears in the way he depicts the intimate relationships of his protagonists as transforming the ontological and temporal qualities of their environments. This chapter examines Gondry’s films Eternal Sunshine of the Spotless Mind and Mood Indigo for traces of this influence and draws connections to Vigo’s iconic L’Atalante (1934), positioning these works in the lineage of cinematic depictions of mad love. This chapter argues that in both Gondry’s and Vigo’s films, l’amour fou is embodied through a love that also challenges normative conceptions of space and time.Less
Sian Mitchell’s chapter traces the legacy of Frenchpoetic realist director Jean Vigo (1905–34) in Gondry’s work. Drawing on the surrealist theories of André Breton, this chapter argues that early surrealism has influenced not only Gondry’s visual style, but also his thematic interests. This chapter notes how Gondry aesthetically explores the surrealist concept of l’amour fou (mad love), which appears in the way he depicts the intimate relationships of his protagonists as transforming the ontological and temporal qualities of their environments. This chapter examines Gondry’s films Eternal Sunshine of the Spotless Mind and Mood Indigo for traces of this influence and draws connections to Vigo’s iconic L’Atalante (1934), positioning these works in the lineage of cinematic depictions of mad love. This chapter argues that in both Gondry’s and Vigo’s films, l’amour fou is embodied through a love that also challenges normative conceptions of space and time.
Bernhard Maier
- Published in print:
- 2003
- Published Online:
- September 2012
- ISBN:
- 9780748616053
- eISBN:
- 9780748672219
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748616053.003.0017
- Subject:
- History, Ancient History / Archaeology
This chapter traces the history of Brittany from prehistory to the union with France. In December 1491 Anne married Charles VIII of France and, after his death in 1499, his successor Louis XII. Their ...
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This chapter traces the history of Brittany from prehistory to the union with France. In December 1491 Anne married Charles VIII of France and, after his death in 1499, his successor Louis XII. Their daughter Claude married Francis of Angoulême, the heir to the French throne. This joining of the Breton and French states and dynasties came to completion in 1532, when Francis I proclaimed the ‘union in perpetuity’ of Brittany and France. When Brythonic Celts migrated to Brittany in the late classical period, they brought with them their insular Celtic tongue, from which the Breton language, closely related to Cornish and Welsh, would later evolve. From the Old Breton period (between the sixth and eleventh centuries) almost all that has come down to us is explanatory glosses to Latin texts and names of people and places.Less
This chapter traces the history of Brittany from prehistory to the union with France. In December 1491 Anne married Charles VIII of France and, after his death in 1499, his successor Louis XII. Their daughter Claude married Francis of Angoulême, the heir to the French throne. This joining of the Breton and French states and dynasties came to completion in 1532, when Francis I proclaimed the ‘union in perpetuity’ of Brittany and France. When Brythonic Celts migrated to Brittany in the late classical period, they brought with them their insular Celtic tongue, from which the Breton language, closely related to Cornish and Welsh, would later evolve. From the Old Breton period (between the sixth and eleventh centuries) almost all that has come down to us is explanatory glosses to Latin texts and names of people and places.
Bernhard Maier
- Published in print:
- 2003
- Published Online:
- September 2012
- ISBN:
- 9780748616053
- eISBN:
- 9780748672219
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748616053.003.0024
- Subject:
- History, Ancient History / Archaeology
This chapter traces the history of Brittany from union to 1945. In 1532, only a few years before the union of England and Wales, the political independence of the descendants of the Celtic emigrants ...
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This chapter traces the history of Brittany from union to 1945. In 1532, only a few years before the union of England and Wales, the political independence of the descendants of the Celtic emigrants in Britannia minor also came to an end. As a province of the kingdom of France, however, Brittany experienced a period of economic prosperity, owing chiefly to maritime trade, agriculture and the domestic textile industry. The chapter then discusses bilingualism in Brittany, and modern Breton literature.Less
This chapter traces the history of Brittany from union to 1945. In 1532, only a few years before the union of England and Wales, the political independence of the descendants of the Celtic emigrants in Britannia minor also came to an end. As a province of the kingdom of France, however, Brittany experienced a period of economic prosperity, owing chiefly to maritime trade, agriculture and the domestic textile industry. The chapter then discusses bilingualism in Brittany, and modern Breton literature.
Jeremy Biles
- Published in print:
- 2007
- Published Online:
- March 2011
- ISBN:
- 9780823227785
- eISBN:
- 9780823235193
- Item type:
- book
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fso/9780823227785.001.0001
- Subject:
- Philosophy, Aesthetics
In the 1930s, Georges Bataille proclaimed a “ferociously religious” sensibility characterized by simultaneous ecstasy and horror. This book investigates the content and implications ...
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In the 1930s, Georges Bataille proclaimed a “ferociously religious” sensibility characterized by simultaneous ecstasy and horror. This book investigates the content and implications of this religious sensibility by examining Bataille's insistent linking of monstrosity and the sacred. Extending and sometimes challenging major interpretations of Bataille by thinkers like Denis Hollier and Rosalind Krauss, the book reveals how his writings betray the monstrous marks of the affective and intellectual contradictions he seeks to produce in his readers. Charting a new approach to recent debates concerning Bataille's formulation of the informe (“formless”), the book demonstrates that the motif of monstrosity is keyed to Bataille's notion of sacrifice—an operation that ruptures the integrality of the individual form. Bataille enacts a “monstrous” mode of reading and writing in his approaches to other thinkers and artists—a mode that is at once agonistic and intimate. This book examines this monstrous mode of reading and writing through investigations of Bataille's “sacrificial” interpretations of Kojève's Hegel and Friedrich Nietzsche; his contentious relationship with Simone Weil and its implications for his mystical and writing practices; his fraught affiliation with surrealist André Breton and his attempt to displace surrealism with “hyperchristianity”; and his peculiar relations to artist Hans Bellmer, whose work evokes Bataille's “religious sensibility”.Less
In the 1930s, Georges Bataille proclaimed a “ferociously religious” sensibility characterized by simultaneous ecstasy and horror. This book investigates the content and implications of this religious sensibility by examining Bataille's insistent linking of monstrosity and the sacred. Extending and sometimes challenging major interpretations of Bataille by thinkers like Denis Hollier and Rosalind Krauss, the book reveals how his writings betray the monstrous marks of the affective and intellectual contradictions he seeks to produce in his readers. Charting a new approach to recent debates concerning Bataille's formulation of the informe (“formless”), the book demonstrates that the motif of monstrosity is keyed to Bataille's notion of sacrifice—an operation that ruptures the integrality of the individual form. Bataille enacts a “monstrous” mode of reading and writing in his approaches to other thinkers and artists—a mode that is at once agonistic and intimate. This book examines this monstrous mode of reading and writing through investigations of Bataille's “sacrificial” interpretations of Kojève's Hegel and Friedrich Nietzsche; his contentious relationship with Simone Weil and its implications for his mystical and writing practices; his fraught affiliation with surrealist André Breton and his attempt to displace surrealism with “hyperchristianity”; and his peculiar relations to artist Hans Bellmer, whose work evokes Bataille's “religious sensibility”.
Ian Brodie (ed.)
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496815118
- eISBN:
- 9781496815156
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496815118.003.0004
- Subject:
- Literature, Comics Studies
A history of off-Island governance and capital ownership has informed Cape Breton, Nova Scotia’s self-definition of alterity. The counter-cultural movements of the early 1970s, which arose at the ...
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A history of off-Island governance and capital ownership has informed Cape Breton, Nova Scotia’s self-definition of alterity. The counter-cultural movements of the early 1970s, which arose at the same time as the onset of post-industrialism and a subsequent, precipitous economic decline, brought new artistic media to express this sense of otherness: acid rock, alternative theatre, and underground comics among them. With his “Cape Breton Liberation Army,” Paul “Moose” MacKinnon created a platform for simultaneously exalting and deflating Cape Breton exceptionalism: a resistance militia whose plans after self-determination largely comprised playing pool and listening to blues music. This chapter traces the history of MacKinnon’s comic legacy within the Island’s attempted turn from an industrial to a cultural center, and challenges MacKinnon’s own assertion that he was never trying to be political.Less
A history of off-Island governance and capital ownership has informed Cape Breton, Nova Scotia’s self-definition of alterity. The counter-cultural movements of the early 1970s, which arose at the same time as the onset of post-industrialism and a subsequent, precipitous economic decline, brought new artistic media to express this sense of otherness: acid rock, alternative theatre, and underground comics among them. With his “Cape Breton Liberation Army,” Paul “Moose” MacKinnon created a platform for simultaneously exalting and deflating Cape Breton exceptionalism: a resistance militia whose plans after self-determination largely comprised playing pool and listening to blues music. This chapter traces the history of MacKinnon’s comic legacy within the Island’s attempted turn from an industrial to a cultural center, and challenges MacKinnon’s own assertion that he was never trying to be political.
