Michael Patrick Murphy
- Published in print:
- 2008
- Published Online:
- January 2008
- ISBN:
- 9780195333527
- eISBN:
- 9780199868896
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195333527.003.0001
- Subject:
- Religion, Philosophy of Religion
In addition to laying out a general groundwork for the Catholic imagination as a critical lens—and suggesting a variety of ways that the work of Hans Urs von Balthasar aids critics in articulating ...
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In addition to laying out a general groundwork for the Catholic imagination as a critical lens—and suggesting a variety of ways that the work of Hans Urs von Balthasar aids critics in articulating such a theological vision—the chapter also attempts to locate the particular phenomena of postmodernism and deconstruction within the intersection of theology and narrative art. Balthasar anticipates the tendency of current critical theory to privilege and emphasize the amorphous breadth of both linguistic and cultural expression; and he anticipates the critical tension between those who read Catholicism as theological truth and those that might read Catholicism as a “fluctuating signifier,” as a cultural and/or literary text. Under this general theme, a dialog is opened with such diverse critics as William Lynch, Paul Giles, Michel De Certeau, and Jacques Derrida. Like them, Balthasar's theology plots a route for appreciating the aesthetic complexity and theological possibility of a broadly canvassed intertextuality and interdisciplinarity. However, Balthasar's program also defends the critical uniqueness of certain theological commitments (e.g., the transcendentals, the Incarnation, and the trinitarian structure of being) and looks to the arts to demonstrate the formal expression and aesthetic span of these phenomena. The chapter concludes with the proposition that it is the recognition of these essential questions that both challenge and aid the articulation of a Catholic imagination and that a turn to representative work in literature, poetry, and film will aid in such an articulation.Less
In addition to laying out a general groundwork for the Catholic imagination as a critical lens—and suggesting a variety of ways that the work of Hans Urs von Balthasar aids critics in articulating such a theological vision—the chapter also attempts to locate the particular phenomena of postmodernism and deconstruction within the intersection of theology and narrative art. Balthasar anticipates the tendency of current critical theory to privilege and emphasize the amorphous breadth of both linguistic and cultural expression; and he anticipates the critical tension between those who read Catholicism as theological truth and those that might read Catholicism as a “fluctuating signifier,” as a cultural and/or literary text. Under this general theme, a dialog is opened with such diverse critics as William Lynch, Paul Giles, Michel De Certeau, and Jacques Derrida. Like them, Balthasar's theology plots a route for appreciating the aesthetic complexity and theological possibility of a broadly canvassed intertextuality and interdisciplinarity. However, Balthasar's program also defends the critical uniqueness of certain theological commitments (e.g., the transcendentals, the Incarnation, and the trinitarian structure of being) and looks to the arts to demonstrate the formal expression and aesthetic span of these phenomena. The chapter concludes with the proposition that it is the recognition of these essential questions that both challenge and aid the articulation of a Catholic imagination and that a turn to representative work in literature, poetry, and film will aid in such an articulation.
Kenneth Dyson and Kevin Featherstone
- Published in print:
- 1999
- Published Online:
- November 2003
- ISBN:
- 9780198296386
- eISBN:
- 9780191599125
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/019829638X.003.0010
- Subject:
- Political Science, European Union
The influences on German negotiating positions are examined from the preparation for the IGC through to the end game. The focus is on Kohl, Waigel, Köhler, and Lautenschlager, as well as what ...
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The influences on German negotiating positions are examined from the preparation for the IGC through to the end game. The focus is on Kohl, Waigel, Köhler, and Lautenschlager, as well as what happened inside the Bundesbank. A key question is why the German government accepted irreversibility at Maastricht. The Franco–German relationship emerges as central to the negotiations, along with Kohl's determination to save the treaty. German negotiators had to learn to trust the French, to move beyond coronation theory, and to pacify German public opinion by ensuring that the single currency was at least as stable as the D‐mark.Less
The influences on German negotiating positions are examined from the preparation for the IGC through to the end game. The focus is on Kohl, Waigel, Köhler, and Lautenschlager, as well as what happened inside the Bundesbank. A key question is why the German government accepted irreversibility at Maastricht. The Franco–German relationship emerges as central to the negotiations, along with Kohl's determination to save the treaty. German negotiators had to learn to trust the French, to move beyond coronation theory, and to pacify German public opinion by ensuring that the single currency was at least as stable as the D‐mark.
Michael P. Murphy
- Published in print:
- 2008
- Published Online:
- January 2008
- ISBN:
- 9780195333527
- eISBN:
- 9780199868896
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195333527.001.0001
- Subject:
- Religion, Philosophy of Religion
The turn of the millennium has brought with it a vigorous revival in the interdisciplinary study of theology and art. The notion of a Catholic imagination, however, as a specific category of ...
More
The turn of the millennium has brought with it a vigorous revival in the interdisciplinary study of theology and art. The notion of a Catholic imagination, however, as a specific category of aesthetics, lacks thematic and theological coherence. More often, the idea of a Catholic imagination functions at this time as a deeply felt intuition about the organic connections that exist among theological insights, cultural background, and literary expression. The book explores the many ways that the theological work of Hans Urs von Balthasar (1905–1988) provides the model, content, and optic for demonstrating the credibility and range of a Catholic imagination. Since Balthasar views arts and literatures precisely as theologies, the book surveys a broad array of poetry, drama, fiction, and film and sets these readings against the central aspects of Balthasar's theological program. A major consequence of this study is the recovery of the legitimate place of a distinct “theological imagination” in the critical study of literary and narrative art. The book also argues that Balthasar's voice both complements and challenges contemporary critical theory and contends that postmodern interpretive methodology, with its careful critique of entrenched philosophical assumptions and reiterated codes of meaning, is not the threat to theological meaning that many fear. On the contrary, postmodernism can provide both literary critics and theologians alike with the tools that assess, challenge, and celebrate the theological imagination as it is depicted in literary art today.Less
The turn of the millennium has brought with it a vigorous revival in the interdisciplinary study of theology and art. The notion of a Catholic imagination, however, as a specific category of aesthetics, lacks thematic and theological coherence. More often, the idea of a Catholic imagination functions at this time as a deeply felt intuition about the organic connections that exist among theological insights, cultural background, and literary expression. The book explores the many ways that the theological work of Hans Urs von Balthasar (1905–1988) provides the model, content, and optic for demonstrating the credibility and range of a Catholic imagination. Since Balthasar views arts and literatures precisely as theologies, the book surveys a broad array of poetry, drama, fiction, and film and sets these readings against the central aspects of Balthasar's theological program. A major consequence of this study is the recovery of the legitimate place of a distinct “theological imagination” in the critical study of literary and narrative art. The book also argues that Balthasar's voice both complements and challenges contemporary critical theory and contends that postmodern interpretive methodology, with its careful critique of entrenched philosophical assumptions and reiterated codes of meaning, is not the threat to theological meaning that many fear. On the contrary, postmodernism can provide both literary critics and theologians alike with the tools that assess, challenge, and celebrate the theological imagination as it is depicted in literary art today.
Michael Patrick Murphy
- Published in print:
- 2008
- Published Online:
- January 2008
- ISBN:
- 9780195333527
- eISBN:
- 9780199868896
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195333527.003.0005
- Subject:
- Religion, Philosophy of Religion
Chapter 5 presents a reading of David Lodge's novel Therapy (1995) in light of Balthasar's Theo‐logic. Lodge does well to illustrate that the erasure of God that preoccupies postmodern consciousness ...
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Chapter 5 presents a reading of David Lodge's novel Therapy (1995) in light of Balthasar's Theo‐logic. Lodge does well to illustrate that the erasure of God that preoccupies postmodern consciousness significantly affects contemporary conceptions about “subject formation” and “people in relation.” Lodge develops these themes by constructing a narrative that mirrors both the theological trajectory of Balthasar's tripartite program and the existential progression identified by the Danish philosopher Soren Kierkegaard—namely, the aesthetic, ethical, and religious “stages” of human experience. Importantly, a close consideration of Kierkegaard's stages reveals a direct analogy with the transcendentals, which, in turn, illuminates one of the many reasons why Balthasar admired Kierkegaard and why Lodge's novel is a fertile literary example of Balthasar's Theologic. By a close consideration of the triadic structure of being presented by a variety of sources, the chapter begins to discern how God's logic—how human logic—exists in a trinitarian dynamic.Less
Chapter 5 presents a reading of David Lodge's novel Therapy (1995) in light of Balthasar's Theo‐logic. Lodge does well to illustrate that the erasure of God that preoccupies postmodern consciousness significantly affects contemporary conceptions about “subject formation” and “people in relation.” Lodge develops these themes by constructing a narrative that mirrors both the theological trajectory of Balthasar's tripartite program and the existential progression identified by the Danish philosopher Soren Kierkegaard—namely, the aesthetic, ethical, and religious “stages” of human experience. Importantly, a close consideration of Kierkegaard's stages reveals a direct analogy with the transcendentals, which, in turn, illuminates one of the many reasons why Balthasar admired Kierkegaard and why Lodge's novel is a fertile literary example of Balthasar's Theologic. By a close consideration of the triadic structure of being presented by a variety of sources, the chapter begins to discern how God's logic—how human logic—exists in a trinitarian dynamic.
Maarten A. Hajer and Justus Uitermark
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780199281671
- eISBN:
- 9780191713132
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199281671.003.0004
- Subject:
- Political Science, Comparative Politics
When Dutch filmmaker Van Gogh is murdered by an Islamist extremist, local politicians Cohen and Aboutaleb face the task of giving meaning to the murder. Their tolerant, pluralistic approach of ‘de ...
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When Dutch filmmaker Van Gogh is murdered by an Islamist extremist, local politicians Cohen and Aboutaleb face the task of giving meaning to the murder. Their tolerant, pluralistic approach of ‘de boel bij elkaar houden’ (keeping things together) is publicly ridiculed by the so-called Friends of Theo. Protagonists and antagonists try to (counter-)script the meaning of the murder on constitutional and non-constitutional stages, using different repertoires to enact authority. The ruling media format privileges emotional repertoires over the factual genre of procedural assurance. The discourse analysis illuminates how the ‘soft’ approach of ‘de boel bij elkaar houden’ changes to include notions of tough action. Distinct divisions or roles between both politicians emerge. The chapter tries to make sense of the question: To what extend can the success of the administrators be attributed to their particular actions? It applies the notion of ‘performative habitus’ (embodied dispositions shaped over many previous years of symbolic labour) to transcend the dualism between the politician as a strategic actor and the politician as being determined by context; personal authority is a co-production of performative habitus and setting.Less
When Dutch filmmaker Van Gogh is murdered by an Islamist extremist, local politicians Cohen and Aboutaleb face the task of giving meaning to the murder. Their tolerant, pluralistic approach of ‘de boel bij elkaar houden’ (keeping things together) is publicly ridiculed by the so-called Friends of Theo. Protagonists and antagonists try to (counter-)script the meaning of the murder on constitutional and non-constitutional stages, using different repertoires to enact authority. The ruling media format privileges emotional repertoires over the factual genre of procedural assurance. The discourse analysis illuminates how the ‘soft’ approach of ‘de boel bij elkaar houden’ changes to include notions of tough action. Distinct divisions or roles between both politicians emerge. The chapter tries to make sense of the question: To what extend can the success of the administrators be attributed to their particular actions? It applies the notion of ‘performative habitus’ (embodied dispositions shaped over many previous years of symbolic labour) to transcend the dualism between the politician as a strategic actor and the politician as being determined by context; personal authority is a co-production of performative habitus and setting.
Sam Cherribi
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780199734115
- eISBN:
- 9780199866113
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199734115.001.0001
- Subject:
- Religion, Islam
This book exposes the “trifecta of coercion”—the triple pressures of Muslim orthodoxy’s expectations for individuals, Dutch—and European, in general—expectations for immigrants, and the individual’s ...
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This book exposes the “trifecta of coercion”—the triple pressures of Muslim orthodoxy’s expectations for individuals, Dutch—and European, in general—expectations for immigrants, and the individual’s day to day challenges which are complicated by his identity as a Muslim immigrant in a non-Muslim culture, or, as the imams call it, “in the house of war.” The trifecta of coercion, a cultural dynamic identified by the book, acts as a pulverizing machine that destroys the individual who happens to be Muslim and reconstitutes him or her as someone who is only a part of a larger, alienated, monolithic entity, in this case the so-called “Muslim threat.” These developments are marked by transformative trends and pivotal events along the road to the position of Islam in the Netherlands at the start of the 21st century. These trends and events include the introduction of Muslim guest workers in the 1960s and 1970s; the appointment of, first, uneducated imams and, later, more radical imams to European mosques in the 1990s; the emergence of Abu Jahjah in neighboring Belgium; the rise of Pim Fortuyn; the terrorist attacks on former New Amsterdam on Sept. 11, 2001; Fortuyn’s assassination in May 2002 followed by the celebrity of Hirsi Ali, the murder of Theo van Gogh in 2004, and the anti-Muslim immigration campaign of Geert Wilders. The author’s own rich life and its Muslim-influenced, secular European structure underpins every page of a scholarly examination of the very personal realities of Muslim immigration in EuropeLess
This book exposes the “trifecta of coercion”—the triple pressures of Muslim orthodoxy’s expectations for individuals, Dutch—and European, in general—expectations for immigrants, and the individual’s day to day challenges which are complicated by his identity as a Muslim immigrant in a non-Muslim culture, or, as the imams call it, “in the house of war.” The trifecta of coercion, a cultural dynamic identified by the book, acts as a pulverizing machine that destroys the individual who happens to be Muslim and reconstitutes him or her as someone who is only a part of a larger, alienated, monolithic entity, in this case the so-called “Muslim threat.” These developments are marked by transformative trends and pivotal events along the road to the position of Islam in the Netherlands at the start of the 21st century. These trends and events include the introduction of Muslim guest workers in the 1960s and 1970s; the appointment of, first, uneducated imams and, later, more radical imams to European mosques in the 1990s; the emergence of Abu Jahjah in neighboring Belgium; the rise of Pim Fortuyn; the terrorist attacks on former New Amsterdam on Sept. 11, 2001; Fortuyn’s assassination in May 2002 followed by the celebrity of Hirsi Ali, the murder of Theo van Gogh in 2004, and the anti-Muslim immigration campaign of Geert Wilders. The author’s own rich life and its Muslim-influenced, secular European structure underpins every page of a scholarly examination of the very personal realities of Muslim immigration in Europe
Sam Cherribi
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780199734115
- eISBN:
- 9780199866113
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199734115.003.0007
- Subject:
- Religion, Islam
This chapter focuses on Islam in the aftermath of the killing of Theo van Gogh. The Dutch print media, as well as Dutch public and commercial broadcasters, have openly admired the heirs of the ...
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This chapter focuses on Islam in the aftermath of the killing of Theo van Gogh. The Dutch print media, as well as Dutch public and commercial broadcasters, have openly admired the heirs of the anti-Islam discourse broached by Pim Fortuyn, Hirsi Ali and Geert Wilders. Their respective movies/ documentaries, “Submission” and, more recently, “Fitna” garnered intense media attention, especially in Europe. The prevalent lens of secularism in the media distorts the condition of faithfulness and alienates those who might otherwise be more inclined to seek greater assimilation.Less
This chapter focuses on Islam in the aftermath of the killing of Theo van Gogh. The Dutch print media, as well as Dutch public and commercial broadcasters, have openly admired the heirs of the anti-Islam discourse broached by Pim Fortuyn, Hirsi Ali and Geert Wilders. Their respective movies/ documentaries, “Submission” and, more recently, “Fitna” garnered intense media attention, especially in Europe. The prevalent lens of secularism in the media distorts the condition of faithfulness and alienates those who might otherwise be more inclined to seek greater assimilation.
Paul Marshall and Nina Shea
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199812264
- eISBN:
- 9780199919383
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199812264.003.0013
- Subject:
- Religion, Islam
While blasphemy laws are dangerous, a more pervasive and deeper problem is threats and violence against those accused of insulting Islam. Those targeted include not only politicians but also Muslims ...
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While blasphemy laws are dangerous, a more pervasive and deeper problem is threats and violence against those accused of insulting Islam. Those targeted include not only politicians but also Muslims living in the West, converts from Islam, and others who are intentionally outspoken, attempting to reform ideas, or simply careless with words. Violent intimidation is becoming familiar in Western society, especially in some Muslim communities, where threats of violence follow words and actions are deemed “insulting to Islam.” The gruesome 2004 murder of Dutch director Theo Van Gogh, and related death threats against Somali-born ex-Muslim Ayaan Hirsi Ali, powerfully illustrate this growing trend. The murderer, Mohammed Bouyeri, was not enraged for any purely personal reasons. Instead, he declared, “From now on, this will be the punishment for anyone in this land who challenges and insults Allah and his messengers.” Western states still remain a relative haven for free debate, for voices of Islamic reform, and for those with unorthodox views of Islam but they stand at a crossroads between robust defense of free speech and a flaccid response to the persistent encroachment of anti-blasphemy restrictions, whether imposed through legislation, or enforced outside the reach of law by radical vigilantes.Less
While blasphemy laws are dangerous, a more pervasive and deeper problem is threats and violence against those accused of insulting Islam. Those targeted include not only politicians but also Muslims living in the West, converts from Islam, and others who are intentionally outspoken, attempting to reform ideas, or simply careless with words. Violent intimidation is becoming familiar in Western society, especially in some Muslim communities, where threats of violence follow words and actions are deemed “insulting to Islam.” The gruesome 2004 murder of Dutch director Theo Van Gogh, and related death threats against Somali-born ex-Muslim Ayaan Hirsi Ali, powerfully illustrate this growing trend. The murderer, Mohammed Bouyeri, was not enraged for any purely personal reasons. Instead, he declared, “From now on, this will be the punishment for anyone in this land who challenges and insults Allah and his messengers.” Western states still remain a relative haven for free debate, for voices of Islamic reform, and for those with unorthodox views of Islam but they stand at a crossroads between robust defense of free speech and a flaccid response to the persistent encroachment of anti-blasphemy restrictions, whether imposed through legislation, or enforced outside the reach of law by radical vigilantes.
Anne Norton
- Published in print:
- 2013
- Published Online:
- October 2017
- ISBN:
- 9780691157047
- eISBN:
- 9781400846351
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691157047.003.0002
- Subject:
- Political Science, Political Theory
This chapter examines how the Muslim question has been linked to the question of freedom of speech. A clash of civilizations that saw the West as the realm of enlightenment, and Muslims in the realm ...
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This chapter examines how the Muslim question has been linked to the question of freedom of speech. A clash of civilizations that saw the West as the realm of enlightenment, and Muslims in the realm of religion, custom, and tradition, has long been part of spectacles in the Western public sphere. Ayatollah Khomeini gave new life to these civilizational theatrics when he issued a fatwa calling for the assassination of Salman Rushdie, whose The Satanic Verses became the center of a controversy that cast freedom of speech as a Muslim question. However, the martyr to free speech was not Rushdie but Theo van Gogh, the murdered producer of the film Submission. The chapter shows how the dramas surrounding Rushdie, van Gogh, the Danish cartoons and the satirical magazine Charlie Hebdo's copycat cartoon provocations mark Muslims as the enemies of free speech.Less
This chapter examines how the Muslim question has been linked to the question of freedom of speech. A clash of civilizations that saw the West as the realm of enlightenment, and Muslims in the realm of religion, custom, and tradition, has long been part of spectacles in the Western public sphere. Ayatollah Khomeini gave new life to these civilizational theatrics when he issued a fatwa calling for the assassination of Salman Rushdie, whose The Satanic Verses became the center of a controversy that cast freedom of speech as a Muslim question. However, the martyr to free speech was not Rushdie but Theo van Gogh, the murdered producer of the film Submission. The chapter shows how the dramas surrounding Rushdie, van Gogh, the Danish cartoons and the satirical magazine Charlie Hebdo's copycat cartoon provocations mark Muslims as the enemies of free speech.
Sam Cherribi
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780195307221
- eISBN:
- 9780199785513
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195307221.003.0007
- Subject:
- Religion, Religion and Society
This chapter is divided into three sections. The first examines social science literature on migration and citizenship, and its relevance to the issue of Muslims in Europe. The second examines the ...
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This chapter is divided into three sections. The first examines social science literature on migration and citizenship, and its relevance to the issue of Muslims in Europe. The second examines the results of two sets of interviews conducted with European parliamentarians, and underscores striking convergences across the political spectrum in how the issue of Muslim migration is constructed. The third section looks at the 2004 murder of filmmaker Theo van Gogh. The handling of this in the Netherlands represents a dramatic example of the political discovery of a Muslim problem with far-reaching implications for the future of religious pluralism and democracy.Less
This chapter is divided into three sections. The first examines social science literature on migration and citizenship, and its relevance to the issue of Muslims in Europe. The second examines the results of two sets of interviews conducted with European parliamentarians, and underscores striking convergences across the political spectrum in how the issue of Muslim migration is constructed. The third section looks at the 2004 murder of filmmaker Theo van Gogh. The handling of this in the Netherlands represents a dramatic example of the political discovery of a Muslim problem with far-reaching implications for the future of religious pluralism and democracy.
Angelos Koutsourakis and Mark Steven (eds)
- Published in print:
- 2015
- Published Online:
- January 2018
- ISBN:
- 9780748697953
- eISBN:
- 9781474416160
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748697953.001.0001
- Subject:
- Film, Television and Radio, Film
This book is the first critical assessment of one of the leading figures of modernist European art cinema. Assessing his complete works, the book brings together a team of internationally regarded ...
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This book is the first critical assessment of one of the leading figures of modernist European art cinema. Assessing his complete works, the book brings together a team of internationally regarded experts and emerging scholars from multiple disciplines, to provide a definitive account of Theo Angelopoulos' formal reactions to the historical events that determined life during the twentieth and early twenty-first centuries. Refusing to restrict its approach to the confines of the Greek national film industry, the book approaches Angelopoulos' work as representative of modernism more generally, and in particular of the modernist imperative to document its allusive historical objects through artistic innovation. Retrospective in nature, the book argues that Angelopoulos' films are not emblems of a bygone historical and cultural era or abstract exercises in artistic style, but are foreshadowing documents that speak to the political complexities and economic contradictions of the present.Less
This book is the first critical assessment of one of the leading figures of modernist European art cinema. Assessing his complete works, the book brings together a team of internationally regarded experts and emerging scholars from multiple disciplines, to provide a definitive account of Theo Angelopoulos' formal reactions to the historical events that determined life during the twentieth and early twenty-first centuries. Refusing to restrict its approach to the confines of the Greek national film industry, the book approaches Angelopoulos' work as representative of modernism more generally, and in particular of the modernist imperative to document its allusive historical objects through artistic innovation. Retrospective in nature, the book argues that Angelopoulos' films are not emblems of a bygone historical and cultural era or abstract exercises in artistic style, but are foreshadowing documents that speak to the political complexities and economic contradictions of the present.
Matthew Reynolds
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199605712
- eISBN:
- 9780191731617
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199605712.003.0004
- Subject:
- Literature, Poetry
I explore the idea of ‘functional equivalence’ further with help from John Lyons, Theo Hermans, and Susanne Langer. I show that poetic translation does in fact rely on this notion to some extent. But ...
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I explore the idea of ‘functional equivalence’ further with help from John Lyons, Theo Hermans, and Susanne Langer. I show that poetic translation does in fact rely on this notion to some extent. But poetry translators also repeatedly claim to have ‘got’ or ‘given’ something of their originals. This ‘something’ is brought into being by a collaboration between translator and source: I illustrate the process with a translation of Montale by Paul Muldoon. When you enter into this collaboration you turn away from ‘alikeness’ in translation (as Walter Benjamin put it); but not to enter into it is not to read the poem. There are, then, two ways in which the metaphor of ‘carrying across’ can apply to poetic translation: first, the rough matching of function that occurs in all translation; secondly, a grasping of something that has been imagined out of the source.Less
I explore the idea of ‘functional equivalence’ further with help from John Lyons, Theo Hermans, and Susanne Langer. I show that poetic translation does in fact rely on this notion to some extent. But poetry translators also repeatedly claim to have ‘got’ or ‘given’ something of their originals. This ‘something’ is brought into being by a collaboration between translator and source: I illustrate the process with a translation of Montale by Paul Muldoon. When you enter into this collaboration you turn away from ‘alikeness’ in translation (as Walter Benjamin put it); but not to enter into it is not to read the poem. There are, then, two ways in which the metaphor of ‘carrying across’ can apply to poetic translation: first, the rough matching of function that occurs in all translation; secondly, a grasping of something that has been imagined out of the source.
Francoise Létoublon
- Published in print:
- 2007
- Published Online:
- January 2010
- ISBN:
- 9780199298266
- eISBN:
- 9780191711602
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199298266.003.0010
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter studies the theme of katabasis in two recent films by the Greek film director, Theo Angelopoulos — Ulysses' Gaze and Eternity and One Day. Developing previous work, the chapter argues ...
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This chapter studies the theme of katabasis in two recent films by the Greek film director, Theo Angelopoulos — Ulysses' Gaze and Eternity and One Day. Developing previous work, the chapter argues that Angelopoulos does not simply approach Homer through the Western literary tradition, but that he develops a filmic idiom of repeated typical scenes and formulas that closely resembles the traditional language of Homer.Less
This chapter studies the theme of katabasis in two recent films by the Greek film director, Theo Angelopoulos — Ulysses' Gaze and Eternity and One Day. Developing previous work, the chapter argues that Angelopoulos does not simply approach Homer through the Western literary tradition, but that he develops a filmic idiom of repeated typical scenes and formulas that closely resembles the traditional language of Homer.
Peter Van Der Veer
- Published in print:
- 2006
- Published Online:
- March 2011
- ISBN:
- 9780823226443
- eISBN:
- 9780823237043
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fso/9780823226443.003.0027
- Subject:
- Religion, World Religions
This chapter documents and analyzes the murder of Theo van Gogh in the Netherlands, an event preceded by but not unrelated to the assassination of Pim Fortuyn, the deaths ...
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This chapter documents and analyzes the murder of Theo van Gogh in the Netherlands, an event preceded by but not unrelated to the assassination of Pim Fortuyn, the deaths of whom have haunted Dutch politics ever since. It sketches the historical and socio-cultural context against whose foil we should place the murders of Fortuyn and van Gogh and especially the devastating impact they have had on the political and intellectual climate in the Netherlands, bruising its longstanding reputation for tolerance and diversity. It suggests that the recent upheavals exposed the fragility of this much-cultivated and somewhat self-congratulatory self-image of liberalism and the apparent inability of Dutch society so far to deal with the fact that its newcomers are there to stay or, rather, have already become part and parcel of a radically changed political landscape. In other words, it claims that van Gogh's murder was more revelatory of Dutch culture at the crossroads than of Islam and its perceived global militancy.Less
This chapter documents and analyzes the murder of Theo van Gogh in the Netherlands, an event preceded by but not unrelated to the assassination of Pim Fortuyn, the deaths of whom have haunted Dutch politics ever since. It sketches the historical and socio-cultural context against whose foil we should place the murders of Fortuyn and van Gogh and especially the devastating impact they have had on the political and intellectual climate in the Netherlands, bruising its longstanding reputation for tolerance and diversity. It suggests that the recent upheavals exposed the fragility of this much-cultivated and somewhat self-congratulatory self-image of liberalism and the apparent inability of Dutch society so far to deal with the fact that its newcomers are there to stay or, rather, have already become part and parcel of a radically changed political landscape. In other words, it claims that van Gogh's murder was more revelatory of Dutch culture at the crossroads than of Islam and its perceived global militancy.
Tinsley E. Yarbrough
- Published in print:
- 2008
- Published Online:
- March 2012
- ISBN:
- 9780195141238
- eISBN:
- 9780199851577
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195141238.003.0001
- Subject:
- Law, Legal History
Because Harry Blackmun's mother, Theo Blackmun, decided that she did not want to have the baby on her own in the flat she rented with her husband in Minneapolis, she decided to give birth to the ...
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Because Harry Blackmun's mother, Theo Blackmun, decided that she did not want to have the baby on her own in the flat she rented with her husband in Minneapolis, she decided to give birth to the Supreme Court's future justice in their home at Nashville, Illinois. A genealogical survey would show that Corwin Manning Blackmun's roots could be traced to one of the first Pilgrim groups to arrive at Plymouth, and Theo Huegely Reuter's family lived for a long time in Illinois, therefore it could be said that Justice Blackmun's family has evidently deep Midwestern roots. The justice's parents soon moved to St. Paul's Dayton's Bluff after getting married in a Methodist church and after having Harry, their first child. This chapter recounts Justice Blackmun's family background, his life with his family at Dayton's Bluff, how he had been admitted to the University of Minnesota, and how he had interacted with the Harvard Club for a scholarship to take law school.Less
Because Harry Blackmun's mother, Theo Blackmun, decided that she did not want to have the baby on her own in the flat she rented with her husband in Minneapolis, she decided to give birth to the Supreme Court's future justice in their home at Nashville, Illinois. A genealogical survey would show that Corwin Manning Blackmun's roots could be traced to one of the first Pilgrim groups to arrive at Plymouth, and Theo Huegely Reuter's family lived for a long time in Illinois, therefore it could be said that Justice Blackmun's family has evidently deep Midwestern roots. The justice's parents soon moved to St. Paul's Dayton's Bluff after getting married in a Methodist church and after having Harry, their first child. This chapter recounts Justice Blackmun's family background, his life with his family at Dayton's Bluff, how he had been admitted to the University of Minnesota, and how he had interacted with the Harvard Club for a scholarship to take law school.
Dimitris Eleftheriotis
- Published in print:
- 2010
- Published Online:
- March 2012
- ISBN:
- 9780748633128
- eISBN:
- 9780748651269
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748633128.003.0007
- Subject:
- Film, Television and Radio, Film
This chapter discusses the ‘post’ as a historical, geopolitical, and cultural terminus that points towards a ‘beyond’. It examines two films, Theo Angelopoulos's Ulysses' Gaze (1995) and Samira ...
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This chapter discusses the ‘post’ as a historical, geopolitical, and cultural terminus that points towards a ‘beyond’. It examines two films, Theo Angelopoulos's Ulysses' Gaze (1995) and Samira Makhmalbaf's Blackboards (2000), in which the discourses and sensibilities that inform modern subjectivity, notions of agency, epistemologies of cinematic movement and mobile vision, fantasies of complete knowledge and control, and the pleasures of journeys of exploration, discovery and revelation, all have either completed and concluded their historical trajectories or are irrelevant within a referential context that involves different configurations of the subject and mobility. The chapter shows that Ulysses' Gaze obliterates the subject and object of the spatial exploration that the film undertakes, while the textual practices of Blackboards turn their back on dialectics articulating different types of mobile vision and subjectivity.Less
This chapter discusses the ‘post’ as a historical, geopolitical, and cultural terminus that points towards a ‘beyond’. It examines two films, Theo Angelopoulos's Ulysses' Gaze (1995) and Samira Makhmalbaf's Blackboards (2000), in which the discourses and sensibilities that inform modern subjectivity, notions of agency, epistemologies of cinematic movement and mobile vision, fantasies of complete knowledge and control, and the pleasures of journeys of exploration, discovery and revelation, all have either completed and concluded their historical trajectories or are irrelevant within a referential context that involves different configurations of the subject and mobility. The chapter shows that Ulysses' Gaze obliterates the subject and object of the spatial exploration that the film undertakes, while the textual practices of Blackboards turn their back on dialectics articulating different types of mobile vision and subjectivity.
Tony Russell
- Published in print:
- 2021
- Published Online:
- March 2021
- ISBN:
- 9780190091187
- eISBN:
- 9780190091217
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190091187.003.0036
- Subject:
- Music, History, American, Popular
This chapter discusses Theo. & Gus Clark, “Wimbush Rag”, “Barrow County Stomp”, old-time fiddling
This chapter discusses Theo. & Gus Clark, “Wimbush Rag”, “Barrow County Stomp”, old-time fiddling
Armando Maggi
- Published in print:
- 2009
- Published Online:
- February 2013
- ISBN:
- 9780226501345
- eISBN:
- 9780226501369
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226501369.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
Italian novelist, poet, and filmmaker Pier Paolo Pasolini was brutally killed in Rome in 1975, a macabre end to a career that often explored humanity's capacity for violence and cruelty. Along with ...
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Italian novelist, poet, and filmmaker Pier Paolo Pasolini was brutally killed in Rome in 1975, a macabre end to a career that often explored humanity's capacity for violence and cruelty. Along with the mystery of his murderer's identity, Pasolini left behind a controversial but acclaimed oeuvre as well as a final quartet of beguiling projects that signaled a radical change in his aesthetics and view of reality. This book is an interpretation of these final works: the screenplay Saint Paul, the scenario for Porn-Theo-Colossal, the immense and unfinished novel Petrolio, and his notorious final film, 120 Days of Sodom, a disturbing adaptation of the writings of the Marquis de Sade. Together these works, the author contends, reveal Pasolini's obsession with sodomy and its role within his apocalyptic view of Western society. Exploring the ramifications of Pasolini's homosexuality, the book also breaks new ground by putting his work into fruitful conversation with an array of other thinkers such as Freud, Strindberg, Swift, Henri Michaux, and Norman O. Brown.Less
Italian novelist, poet, and filmmaker Pier Paolo Pasolini was brutally killed in Rome in 1975, a macabre end to a career that often explored humanity's capacity for violence and cruelty. Along with the mystery of his murderer's identity, Pasolini left behind a controversial but acclaimed oeuvre as well as a final quartet of beguiling projects that signaled a radical change in his aesthetics and view of reality. This book is an interpretation of these final works: the screenplay Saint Paul, the scenario for Porn-Theo-Colossal, the immense and unfinished novel Petrolio, and his notorious final film, 120 Days of Sodom, a disturbing adaptation of the writings of the Marquis de Sade. Together these works, the author contends, reveal Pasolini's obsession with sodomy and its role within his apocalyptic view of Western society. Exploring the ramifications of Pasolini's homosexuality, the book also breaks new ground by putting his work into fruitful conversation with an array of other thinkers such as Freud, Strindberg, Swift, Henri Michaux, and Norman O. Brown.
Alva Noë
- Published in print:
- 2022
- Published Online:
- January 2022
- ISBN:
- 9780190928216
- eISBN:
- 9780197601136
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190928216.003.0011
- Subject:
- Philosophy, Aesthetics
This chapter highlights Theo Jansen's strandbeests, which features mammoth artificial creatures—made of PVC, plastic ties, and bottles, among other materials—roaming the northern beaches of the ...
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This chapter highlights Theo Jansen's strandbeests, which features mammoth artificial creatures—made of PVC, plastic ties, and bottles, among other materials—roaming the northern beaches of the Netherlands, on the watch for rising seas. Jansen writes on his website that he is occupied with creating new forms of life. His intuition is that life is tied to problem-solving, to coping with basic tasks necessary for survival. Is it right that life is tied to autonomy and problem-solving, to self-sustaining activity? The chapter then considers a different angle on Jansen's creatures, looking at the exhibition “Strandbeest: The Dream Machines of Theo Jansen,” which was up at San Francisco's Exploratorium in 2016. Most of what is on exhibition are members of lines of the strandbeest genus that are now extinct.Less
This chapter highlights Theo Jansen's strandbeests, which features mammoth artificial creatures—made of PVC, plastic ties, and bottles, among other materials—roaming the northern beaches of the Netherlands, on the watch for rising seas. Jansen writes on his website that he is occupied with creating new forms of life. His intuition is that life is tied to problem-solving, to coping with basic tasks necessary for survival. Is it right that life is tied to autonomy and problem-solving, to self-sustaining activity? The chapter then considers a different angle on Jansen's creatures, looking at the exhibition “Strandbeest: The Dream Machines of Theo Jansen,” which was up at San Francisco's Exploratorium in 2016. Most of what is on exhibition are members of lines of the strandbeest genus that are now extinct.
Dan Dinello
- Published in print:
- 2019
- Published Online:
- February 2021
- ISBN:
- 9781999334024
- eISBN:
- 9781800342507
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781999334024.003.0005
- Subject:
- Film, Television and Radio, Film
This chapter talks about the underground cadre of militant freedom fighters called the Fishes as the mostconspicuous organized resistance group portrayed in Alfonso Cuarón's Children of Men. It ...
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This chapter talks about the underground cadre of militant freedom fighters called the Fishes as the mostconspicuous organized resistance group portrayed in Alfonso Cuarón's Children of Men. It discusses how Children of Men disparages the Fishes and their mirage of revolution as the film condemns the fascistic actions of Britain — a modern democratic state turned savage. It also analyses how Children of Men rejects the Fishes as a treacherous goon squad, even though their political goal — the liberation of oppressed migrants — is worthy. The chapter examines Children of Men's main protagonist Theo Faron, who resembles the central character Meursault in Albert Camus'most famous novel The Stranger (1942). It mentions how no organized political groups are championed in Children of Men except for the vaguely defined Human Project, noting that the only source of hope for the future is Theo.Less
This chapter talks about the underground cadre of militant freedom fighters called the Fishes as the mostconspicuous organized resistance group portrayed in Alfonso Cuarón's Children of Men. It discusses how Children of Men disparages the Fishes and their mirage of revolution as the film condemns the fascistic actions of Britain — a modern democratic state turned savage. It also analyses how Children of Men rejects the Fishes as a treacherous goon squad, even though their political goal — the liberation of oppressed migrants — is worthy. The chapter examines Children of Men's main protagonist Theo Faron, who resembles the central character Meursault in Albert Camus'most famous novel The Stranger (1942). It mentions how no organized political groups are championed in Children of Men except for the vaguely defined Human Project, noting that the only source of hope for the future is Theo.
