Aviad Kleinberg
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780231174701
- eISBN:
- 9780231540247
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231174701.003.0010
- Subject:
- Religion, Philosophy of Religion
Where the finger of Doubting Thomas ends up in the flesh of St. Francis of Assisi.
Where the finger of Doubting Thomas ends up in the flesh of St. Francis of Assisi.
Stephen Teo
- Published in print:
- 2006
- Published Online:
- September 2011
- ISBN:
- 9789622098152
- eISBN:
- 9789882207110
- Item type:
- book
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622098152.001.0001
- Subject:
- Film, Television and Radio, Film
A Touch of Zen is one of the first Chinese-language films to gain recognition in an international film festival (the Grand Prix in the 1975 Cannes Film Festival), creating the generic mould for the ...
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A Touch of Zen is one of the first Chinese-language films to gain recognition in an international film festival (the Grand Prix in the 1975 Cannes Film Festival), creating the generic mould for the crossover success of Ang Lee's Crouching Tiger Hidden Dragon in 2000. The film has achieved a cult status over the years but little has been written about it. This first book-length study of the classic martial arts film therefore redresses its critical neglect, and explores its multi-leveled dimensions and mysteries. One of the central features of the film is the enigmatic knight-lady whose quest for revenge leads her to cross paths with a poor scholar whose interest in military strategy seals their alliance. The author discusses the psychological manifestations and implications of this relationship and concludes that the film's continuing relevance lies in its portrait of sexuality and the feminist desires of the heroine. He also analyzes the film's form as an action piece and the director's preoccupation with Zen as a creative inspiration and as a subject in its own right. As such, he argues that the film is a highly unconventional and idiosyncratic work which attempts to transcend its own genre and reach the heights of universal transcendence. He grounds his study in both Western and Chinese literary sources, providing a broad and comprehensive treatise based on the film's narrative concepts and symbols.Less
A Touch of Zen is one of the first Chinese-language films to gain recognition in an international film festival (the Grand Prix in the 1975 Cannes Film Festival), creating the generic mould for the crossover success of Ang Lee's Crouching Tiger Hidden Dragon in 2000. The film has achieved a cult status over the years but little has been written about it. This first book-length study of the classic martial arts film therefore redresses its critical neglect, and explores its multi-leveled dimensions and mysteries. One of the central features of the film is the enigmatic knight-lady whose quest for revenge leads her to cross paths with a poor scholar whose interest in military strategy seals their alliance. The author discusses the psychological manifestations and implications of this relationship and concludes that the film's continuing relevance lies in its portrait of sexuality and the feminist desires of the heroine. He also analyzes the film's form as an action piece and the director's preoccupation with Zen as a creative inspiration and as a subject in its own right. As such, he argues that the film is a highly unconventional and idiosyncratic work which attempts to transcend its own genre and reach the heights of universal transcendence. He grounds his study in both Western and Chinese literary sources, providing a broad and comprehensive treatise based on the film's narrative concepts and symbols.
Robert C. Fuller
- Published in print:
- 2001
- Published Online:
- November 2003
- ISBN:
- 9780195146806
- eISBN:
- 9780199834204
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0195146808.003.0005
- Subject:
- Religion, Religion and Society
Many of America's alternative healing systems function as vehicles for the transmission of alternative spiritual philosophies. Chiropractic medicine, Osteopathy, Holistic Healing, Therapeutic Touch, ...
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Many of America's alternative healing systems function as vehicles for the transmission of alternative spiritual philosophies. Chiropractic medicine, Osteopathy, Holistic Healing, Therapeutic Touch, and Alcoholics Anonymous are but a few of the alternative healing systems that have deep roots in the American metaphysical tradition. So, too, do various New Age healing practices such as color or crystal healing that believe in the existence of “subtle energies.” It is clear that many of those who are drawn to our alternative healing systems do so not just for relief from physical ailments but also for spiritual growth and edification.Less
Many of America's alternative healing systems function as vehicles for the transmission of alternative spiritual philosophies. Chiropractic medicine, Osteopathy, Holistic Healing, Therapeutic Touch, and Alcoholics Anonymous are but a few of the alternative healing systems that have deep roots in the American metaphysical tradition. So, too, do various New Age healing practices such as color or crystal healing that believe in the existence of “subtle energies.” It is clear that many of those who are drawn to our alternative healing systems do so not just for relief from physical ailments but also for spiritual growth and edification.
Mark Paterson
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9781474405317
- eISBN:
- 9781474418614
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474405317.001.0001
- Subject:
- Literature, Criticism/Theory
The ‘man born blind restored to light’ was one of the foundational myths of the Enlightenment, according to Foucault. With ophthalmic surgery in its infancy, the fascination by the sighted with ...
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The ‘man born blind restored to light’ was one of the foundational myths of the Enlightenment, according to Foucault. With ophthalmic surgery in its infancy, the fascination by the sighted with blindness and what the blind might ‘see’ after sight restoration remained largely speculative. Was being blind, as Descartes once remarked, like ‘seeing with the hands’? Did evidence from early cataract operations begin to resolve epistemological debates about the relationship between vision and touch in the newly sighted, such as the famous ‘Molyneux Question’ posed by William Molyneux to John Locke? More recently, how have autobiographical accounts of blind and vision impaired writers and poets advanced the sighted public’s understanding of blind subjectivity?
Through an unfolding historical, philosophical and literary narrative that includes Locke, Molyneux and Berkeley in Britain, and Diderot, Voltaire and Buffon in France, this book explores how the Molyneux Question and its aftermath has influenced attitudes towards blindness by the sighted, and sensory substitution technologies for the blind and vision impaired, to this day.Less
The ‘man born blind restored to light’ was one of the foundational myths of the Enlightenment, according to Foucault. With ophthalmic surgery in its infancy, the fascination by the sighted with blindness and what the blind might ‘see’ after sight restoration remained largely speculative. Was being blind, as Descartes once remarked, like ‘seeing with the hands’? Did evidence from early cataract operations begin to resolve epistemological debates about the relationship between vision and touch in the newly sighted, such as the famous ‘Molyneux Question’ posed by William Molyneux to John Locke? More recently, how have autobiographical accounts of blind and vision impaired writers and poets advanced the sighted public’s understanding of blind subjectivity?
Through an unfolding historical, philosophical and literary narrative that includes Locke, Molyneux and Berkeley in Britain, and Diderot, Voltaire and Buffon in France, this book explores how the Molyneux Question and its aftermath has influenced attitudes towards blindness by the sighted, and sensory substitution technologies for the blind and vision impaired, to this day.
Matthew Fulkerson
- Published in print:
- 2014
- Published Online:
- May 2014
- ISBN:
- 9780262019965
- eISBN:
- 9780262318471
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262019965.001.0001
- Subject:
- Philosophy, Philosophy of Mind
This book offers a philosophical account of human touch, one informed and constrained by empirical work on touch. It begins by arguing that human touch, despite its functional diversity, is a single, ...
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This book offers a philosophical account of human touch, one informed and constrained by empirical work on touch. It begins by arguing that human touch, despite its functional diversity, is a single, unified sensory modality. From there, it describes and argues for a novel, unifying role for exploratory action in touch. Later chapters fill in the details of this unified, exploratory form of perception, offering philosophical accounts of tool use and distal touch, the representational structure of tangible properties, the spatial content of touch, and the role of pleasure in tactual experience. The resulting account has significant implications for our general understanding of perception and perceptual experience.Less
This book offers a philosophical account of human touch, one informed and constrained by empirical work on touch. It begins by arguing that human touch, despite its functional diversity, is a single, unified sensory modality. From there, it describes and argues for a novel, unifying role for exploratory action in touch. Later chapters fill in the details of this unified, exploratory form of perception, offering philosophical accounts of tool use and distal touch, the representational structure of tangible properties, the spatial content of touch, and the role of pleasure in tactual experience. The resulting account has significant implications for our general understanding of perception and perceptual experience.
Martin McQuillan
- Published in print:
- 2014
- Published Online:
- September 2015
- ISBN:
- 9780748641048
- eISBN:
- 9781474400954
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748641048.003.0028
- Subject:
- Literature, Criticism/Theory
This is Paul de Man's proposed table of contents for The Unimaginable Touch of Time, a volume that he envisaged but never brought to fruition. The book is supposed to have thirteen chapters: ...
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This is Paul de Man's proposed table of contents for The Unimaginable Touch of Time, a volume that he envisaged but never brought to fruition. The book is supposed to have thirteen chapters: Intentional Structure of the Romantic Image; The Contemporary Criticism of Romanticism; Rousseau and the Transcendence of the Self; Rousseau and Madame de Stael; The Image of Rousseau in the Poetry of Hölderlin; Patterns of Temporality in Hölderlin's ‘Wie wenn am Feiertage’; Wordsworth and Hölderlin; Time and History in Wordsworth; Symbolic Landscape in Wordsworth and Yeats; The Poetic Itinerary of John Keats; Allegory and Irony in Baudelaire; Rhetoric of Temporality: Romantic Allegory; Rhetoric of Temporality: Romantic Irony.Less
This is Paul de Man's proposed table of contents for The Unimaginable Touch of Time, a volume that he envisaged but never brought to fruition. The book is supposed to have thirteen chapters: Intentional Structure of the Romantic Image; The Contemporary Criticism of Romanticism; Rousseau and the Transcendence of the Self; Rousseau and Madame de Stael; The Image of Rousseau in the Poetry of Hölderlin; Patterns of Temporality in Hölderlin's ‘Wie wenn am Feiertage’; Wordsworth and Hölderlin; Time and History in Wordsworth; Symbolic Landscape in Wordsworth and Yeats; The Poetic Itinerary of John Keats; Allegory and Irony in Baudelaire; Rhetoric of Temporality: Romantic Allegory; Rhetoric of Temporality: Romantic Irony.
Gordon L. Fain
- Published in print:
- 2019
- Published Online:
- December 2019
- ISBN:
- 9780198835028
- eISBN:
- 9780191872846
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198835028.001.0001
- Subject:
- Biology, Neurobiology, Biochemistry / Molecular Biology
Sensory Transduction provides a thorough and easily accessible introduction to the mechanisms that each of the different kinds of sensory receptor cell uses to convert a sensory stimulus into an ...
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Sensory Transduction provides a thorough and easily accessible introduction to the mechanisms that each of the different kinds of sensory receptor cell uses to convert a sensory stimulus into an electrical response. Beginning with an introduction to methods of experimentation, sensory specializations, ion channels, and G-protein cascades, it provides up-to-date reviews of all of the major senses, including touch, hearing, olfaction, taste, photoreception, and the “extra” senses of thermoreception, electroreception, and magnetoreception. By bringing mechanisms of all of the senses together into a coherent treatment, it facilitates comparison of ion channels, metabotropic effector molecules, second messengers, and other components of signal pathways that are common themes in the physiology of the different sense organs. With its many clear illustrations and easily assimilated exposition, it provides an ideal introduction to current research for the professional in neuroscience, as well as a text for an advanced undergraduate or graduate-level course on sensory physiology.Less
Sensory Transduction provides a thorough and easily accessible introduction to the mechanisms that each of the different kinds of sensory receptor cell uses to convert a sensory stimulus into an electrical response. Beginning with an introduction to methods of experimentation, sensory specializations, ion channels, and G-protein cascades, it provides up-to-date reviews of all of the major senses, including touch, hearing, olfaction, taste, photoreception, and the “extra” senses of thermoreception, electroreception, and magnetoreception. By bringing mechanisms of all of the senses together into a coherent treatment, it facilitates comparison of ion channels, metabotropic effector molecules, second messengers, and other components of signal pathways that are common themes in the physiology of the different sense organs. With its many clear illustrations and easily assimilated exposition, it provides an ideal introduction to current research for the professional in neuroscience, as well as a text for an advanced undergraduate or graduate-level course on sensory physiology.
Alexander Thomas T. Smith
- Published in print:
- 2011
- Published Online:
- July 2012
- ISBN:
- 9780719079696
- eISBN:
- 9781781703052
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719079696.003.0004
- Subject:
- Society and Culture, Scottish Studies
This chapter provides an overview of the local Conservative Party's planning for the 2003 local government and Scottish Parliamentary elections, and explores how local Conservatives sought to build a ...
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This chapter provides an overview of the local Conservative Party's planning for the 2003 local government and Scottish Parliamentary elections, and explores how local Conservatives sought to build a political machine through the coordination of (limited) activist labour, Party bureaucracy and paperwork. This machine was ‘run’ by a Core Campaign Team, which oversaw the deployment of four ‘instruments’ that were vital to the local Party's discursive armoury: the leaflet, press release, survey and target letter. In particular, activists considered their In Touch leaflets to be both an instrument and a building block of their election campaign, as they sought to ‘catch up’ and overtake the superior, ‘well-oiled’ campaigning machine of the local Labour Party. Ironically, the In Touch leaflet betrayed an anxiety shared by many Conservative activists, which was grounded in the assumption that local people considered the Tory Party irrelevant in Scotland and that they were therefore not interested in what they had to say.Less
This chapter provides an overview of the local Conservative Party's planning for the 2003 local government and Scottish Parliamentary elections, and explores how local Conservatives sought to build a political machine through the coordination of (limited) activist labour, Party bureaucracy and paperwork. This machine was ‘run’ by a Core Campaign Team, which oversaw the deployment of four ‘instruments’ that were vital to the local Party's discursive armoury: the leaflet, press release, survey and target letter. In particular, activists considered their In Touch leaflets to be both an instrument and a building block of their election campaign, as they sought to ‘catch up’ and overtake the superior, ‘well-oiled’ campaigning machine of the local Labour Party. Ironically, the In Touch leaflet betrayed an anxiety shared by many Conservative activists, which was grounded in the assumption that local people considered the Tory Party irrelevant in Scotland and that they were therefore not interested in what they had to say.
Matthew Fulkerson
- Published in print:
- 2014
- Published Online:
- May 2014
- ISBN:
- 9780262019965
- eISBN:
- 9780262318471
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262019965.003.0006
- Subject:
- Philosophy, Philosophy of Mind
This chapter argues that in touch, as in vision and audition, we can and often do perceive objects and properties even when we are not in direct or even apparent bodily contact with them. Unlike ...
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This chapter argues that in touch, as in vision and audition, we can and often do perceive objects and properties even when we are not in direct or even apparent bodily contact with them. Unlike those senses, however, touch experiences require a special kind of mutually-interactive connection between our sensory surfaces and the objects of our experience. This constraint is the Connection Principle. This view has implications for the proper understanding of touch, and perceptual reference generally. In particular, spelling out the implications of this principle yields a rich and compelling picture of the spatial character of touch.Less
This chapter argues that in touch, as in vision and audition, we can and often do perceive objects and properties even when we are not in direct or even apparent bodily contact with them. Unlike those senses, however, touch experiences require a special kind of mutually-interactive connection between our sensory surfaces and the objects of our experience. This constraint is the Connection Principle. This view has implications for the proper understanding of touch, and perceptual reference generally. In particular, spelling out the implications of this principle yields a rich and compelling picture of the spatial character of touch.
Matthew Fulkerson
- Published in print:
- 2014
- Published Online:
- May 2014
- ISBN:
- 9780262019965
- eISBN:
- 9780262318471
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262019965.003.0007
- Subject:
- Philosophy, Philosophy of Mind
This chapter considers an essential element of touch that has so far been left out: its role as a central locus of felt pleasure and pain. After developing some distinctions between several notions ...
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This chapter considers an essential element of touch that has so far been left out: its role as a central locus of felt pleasure and pain. After developing some distinctions between several notions of perceptual affect, this chapter argues that “emotional” and “affiliative” touch are best understood as causing affective reactions, and that “pleasant” touch is best understood as presenting us with affective qualities. On neither model does touch involve anything like a pleasantness detector, nor can it be under- stood as involving a relation to affective qualities understood as objective sensible features of external objects. Taken together, these reflections provide a detailed philosophical framework for understanding the affective character of touch experience, one that can be generalized to the affective character of all sensory modalities.Less
This chapter considers an essential element of touch that has so far been left out: its role as a central locus of felt pleasure and pain. After developing some distinctions between several notions of perceptual affect, this chapter argues that “emotional” and “affiliative” touch are best understood as causing affective reactions, and that “pleasant” touch is best understood as presenting us with affective qualities. On neither model does touch involve anything like a pleasantness detector, nor can it be under- stood as involving a relation to affective qualities understood as objective sensible features of external objects. Taken together, these reflections provide a detailed philosophical framework for understanding the affective character of touch experience, one that can be generalized to the affective character of all sensory modalities.
Stephen Teo
- Published in print:
- 2006
- Published Online:
- September 2011
- ISBN:
- 9789622098152
- eISBN:
- 9789882207110
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622098152.003.0001
- Subject:
- Film, Television and Radio, Film
A Touch of Zen is one of the essential films of the Chinese-language cinema. It achieved a “double first”: it was the first Chinese-language film to win an award at the Cannes Film Festival, in 1975, ...
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A Touch of Zen is one of the essential films of the Chinese-language cinema. It achieved a “double first”: it was the first Chinese-language film to win an award at the Cannes Film Festival, in 1975, and the first wuxia (martial chivalry) film to do so at an international film festival. In this detailed and concentrated study, this book shows why it considers A Touch of Zento be an essential film, and why it is Hu's masterpiece and how it is quite unlike other wuxia films that came before or after. It is also historically important in the modern development of the Hong Kong cinema as well as the Taiwan cinema. The book argues that its key significance is its subversive portrait of the female hero, and a concomitant sexual ambiguity infecting both the male and female protagonists.Less
A Touch of Zen is one of the essential films of the Chinese-language cinema. It achieved a “double first”: it was the first Chinese-language film to win an award at the Cannes Film Festival, in 1975, and the first wuxia (martial chivalry) film to do so at an international film festival. In this detailed and concentrated study, this book shows why it considers A Touch of Zento be an essential film, and why it is Hu's masterpiece and how it is quite unlike other wuxia films that came before or after. It is also historically important in the modern development of the Hong Kong cinema as well as the Taiwan cinema. The book argues that its key significance is its subversive portrait of the female hero, and a concomitant sexual ambiguity infecting both the male and female protagonists.
Stephen Teo
- Published in print:
- 2006
- Published Online:
- September 2011
- ISBN:
- 9789622098152
- eISBN:
- 9789882207110
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622098152.003.0003
- Subject:
- Film, Television and Radio, Film
This chapter dwells on the matter of ghosts and the psychological illusions preying on the mind of the male hero as the narrative progresses into the realm of the ghost story. A Touch of Zen begins ...
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This chapter dwells on the matter of ghosts and the psychological illusions preying on the mind of the male hero as the narrative progresses into the realm of the ghost story. A Touch of Zen begins with the proposition that the Chinese fort where the bulk of the story takes place is a haunted place and that the xia nü may be a ghost. This afforded Hu the means to delve into questions of superstition and belief in the supernatural. While A Touch of Zen is generally recognized as a wuxia film, Hu inducts a ghost story into the first hour of the film, the purpose of which is to prepare for the metaphysical exploration of the genre and the delivery of the “touch of Zen” towards the end.Less
This chapter dwells on the matter of ghosts and the psychological illusions preying on the mind of the male hero as the narrative progresses into the realm of the ghost story. A Touch of Zen begins with the proposition that the Chinese fort where the bulk of the story takes place is a haunted place and that the xia nü may be a ghost. This afforded Hu the means to delve into questions of superstition and belief in the supernatural. While A Touch of Zen is generally recognized as a wuxia film, Hu inducts a ghost story into the first hour of the film, the purpose of which is to prepare for the metaphysical exploration of the genre and the delivery of the “touch of Zen” towards the end.
Stephen Teo
- Published in print:
- 2006
- Published Online:
- September 2011
- ISBN:
- 9789622098152
- eISBN:
- 9789882207110
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622098152.003.0007
- Subject:
- Film, Television and Radio, Film
This chapter wraps up the discussion with several conclusions on the film's lasting value and influences. The book begins by suggesting that A Touch of Zen is a subversive work because of its ...
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This chapter wraps up the discussion with several conclusions on the film's lasting value and influences. The book begins by suggesting that A Touch of Zen is a subversive work because of its feminist sensibility and sexual ambiguity. But by delivering a fantastic-marvelous conclusion that exposes one to the supernatural, the film appears to override the earthly human concerns of sexual roles and directs one to transcend them. One of the enduring conceits of the film is that Zen is basically identified as a feminine inspiration, symbolized in the form of the xia nü. The reality principle, which is that of human suffering and death, leads one to the Buddhist theme of redemption and transcendence. The Zen ending is a truly epic ending which reaches for that elusive object of universality, making the end section a highly subversive sequence.Less
This chapter wraps up the discussion with several conclusions on the film's lasting value and influences. The book begins by suggesting that A Touch of Zen is a subversive work because of its feminist sensibility and sexual ambiguity. But by delivering a fantastic-marvelous conclusion that exposes one to the supernatural, the film appears to override the earthly human concerns of sexual roles and directs one to transcend them. One of the enduring conceits of the film is that Zen is basically identified as a feminine inspiration, symbolized in the form of the xia nü. The reality principle, which is that of human suffering and death, leads one to the Buddhist theme of redemption and transcendence. The Zen ending is a truly epic ending which reaches for that elusive object of universality, making the end section a highly subversive sequence.
Mary-Jo DelVecchio Good and Byron J. Good
- Published in print:
- 2008
- Published Online:
- May 2012
- ISBN:
- 9780520252233
- eISBN:
- 9780520941021
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520252233.003.0003
- Subject:
- Anthropology, Medical Anthropology
This chapter examines how citizen-artists in Indonesia creatively and critically engaged in subjectifying the state through pointedly political art, generating narratives and fantasies both visual ...
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This chapter examines how citizen-artists in Indonesia creatively and critically engaged in subjectifying the state through pointedly political art, generating narratives and fantasies both visual and discursive, private and public, and images of past, present, and future during the early period of post-Suharto reformation. It describes several notable works by Indonesian artists including Yuli Kodo's Indonesia Sakit, Alex Luthfi's Kado Reformasi, and Entang Wiharso's Don't Touch Me. The chapter suggests that these works reveal how the transformation of political engagements led to these artists' newfound subjectivity as post-New Order Indonesian citizens capable of publicly critiquing the state as well as reenvisioning, through their paintings, imagined possibilities for a new democratic Indonesian state.Less
This chapter examines how citizen-artists in Indonesia creatively and critically engaged in subjectifying the state through pointedly political art, generating narratives and fantasies both visual and discursive, private and public, and images of past, present, and future during the early period of post-Suharto reformation. It describes several notable works by Indonesian artists including Yuli Kodo's Indonesia Sakit, Alex Luthfi's Kado Reformasi, and Entang Wiharso's Don't Touch Me. The chapter suggests that these works reveal how the transformation of political engagements led to these artists' newfound subjectivity as post-New Order Indonesian citizens capable of publicly critiquing the state as well as reenvisioning, through their paintings, imagined possibilities for a new democratic Indonesian state.
Alexander Jacoby
- Published in print:
- 2018
- Published Online:
- May 2020
- ISBN:
- 9781474409698
- eISBN:
- 9781474444637
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474409698.003.0003
- Subject:
- Film, Television and Radio, Film
Alexander Jacoby moves ahead to the 1940s and 50s in order to explore Tanaka’s second period of stardom as a mature actress. Shifting from the common auterist focus of Japanese film studies to ...
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Alexander Jacoby moves ahead to the 1940s and 50s in order to explore Tanaka’s second period of stardom as a mature actress. Shifting from the common auterist focus of Japanese film studies to analyse these canonical films as star vehicles for Tanaka, Jacoby argues that her star persona helped clarify the ideology of the films, thus advocating a ‘star-as-auteur’ approach. Examining the climax and endings of several films, the chapter contends that the ideological trajectory of each work is made explicit via the resolution of a narrative thread concerning Tanaka's relationship with a male – be they friend, lover or relative. Correspondingly, when the central relationship is with another woman, the ideological implications of the resolutions are more radical. Through an approach that places emphasis on the depiction of touch in Tanaka’s physical interactions with other characters, the chapter revisits classical works of post-war Japanese cinema from a new perspective.Less
Alexander Jacoby moves ahead to the 1940s and 50s in order to explore Tanaka’s second period of stardom as a mature actress. Shifting from the common auterist focus of Japanese film studies to analyse these canonical films as star vehicles for Tanaka, Jacoby argues that her star persona helped clarify the ideology of the films, thus advocating a ‘star-as-auteur’ approach. Examining the climax and endings of several films, the chapter contends that the ideological trajectory of each work is made explicit via the resolution of a narrative thread concerning Tanaka's relationship with a male – be they friend, lover or relative. Correspondingly, when the central relationship is with another woman, the ideological implications of the resolutions are more radical. Through an approach that places emphasis on the depiction of touch in Tanaka’s physical interactions with other characters, the chapter revisits classical works of post-war Japanese cinema from a new perspective.
Aijaz Ashraf Wani
- Published in print:
- 2019
- Published Online:
- April 2019
- ISBN:
- 9780199487608
- eISBN:
- 9780199097166
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199487608.001.0001
- Subject:
- Political Science, Indian Politics
What Happened to governance in Kashmir? studies the state of Jammu and Kashmir from the perspective of an ‘exceptional state’ rather than a ‘normal state’, a periphery on the margins of the centre, ...
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What Happened to governance in Kashmir? studies the state of Jammu and Kashmir from the perspective of an ‘exceptional state’ rather than a ‘normal state’, a periphery on the margins of the centre, and thus shifts the focus from the central grid to the local arena. It contains a mass of information on what successive governments did to manage the conflicted state of Jammu and Kashmir. It identifies the various issues and problems the state has been confronted with since the transfer of power to ‘popular’ government in 1948 to 1989. The book makes a critical study of the engagement of Indian state and its clientele governments and patronage democracies with political instability to create ‘order’ in ‘durable disorder’. With having examined the different political, military, legal, economic, social, and cultural strategies, instruments and tactics employed by the state at different times to suit changing environments, this is the first work on post 1947 Kashmir which brings together many capital dimensions of state, politics, and governance in Kashmir under one cover. While critically delineating the doings of the governments, the book does not only provide flesh and blood to some existing narratives, it also modifies and even refutes some of the long held assumptions on the basis of hitherto unexamined evidence. All in all, the book illuminates the reader about the policies of Indian state towards Kashmir and the extent the successive governments have succeeded in winning the emotional integration of Kashmiris with the Indian Union. As Sheikh Abdullah was a central figure of Kashmir politics and governance, the readers will find a refreshingly new light on his governance when he was in power, and a most influential agency to mould the public opinion when he was out of state power. Similar revealing information on the other governments are documented for the first time. Having studied each government in its own right, we find the governance characterized by change in continuity. Indeed, governance in Kashmir does not constitute one single development. In essence it is a diachronic assemblage, a composite result of different systems each with its own internal or imposed coherence moving at different speeds—some are stable, some move slowly, and some wear themselves out more quickly depending on various forces and factors. What Happened to Governance in Kashmir? is a telling tale on the state of governance in Kashmir; the policies and strategies adopted by Indian state and the successive patronage governments to grapple with the multifarious problems of the state. Kashmir is an ailing state. It is the victim of colonialism and partition, which subverted its geographical centrality with serious economic implications besides making it a permanent conflict state causing immense human and material loss. Besides being claimed by India, Pakistan, and Kashmiris, it is also a rainbow state very difficult to manage with various ethno-regional and sub-regional nationalities at cross-purposes. Added to this, it is a dependent state. This book situates governance in its total milieu and examines the governance in the framework of challenge and response continuum. It unfolds how in a conflict state like Kashmir democracy and governance is always guided and controlled. This is the first comprehensive book on the post 1947 governance in Kashmir.Less
What Happened to governance in Kashmir? studies the state of Jammu and Kashmir from the perspective of an ‘exceptional state’ rather than a ‘normal state’, a periphery on the margins of the centre, and thus shifts the focus from the central grid to the local arena. It contains a mass of information on what successive governments did to manage the conflicted state of Jammu and Kashmir. It identifies the various issues and problems the state has been confronted with since the transfer of power to ‘popular’ government in 1948 to 1989. The book makes a critical study of the engagement of Indian state and its clientele governments and patronage democracies with political instability to create ‘order’ in ‘durable disorder’. With having examined the different political, military, legal, economic, social, and cultural strategies, instruments and tactics employed by the state at different times to suit changing environments, this is the first work on post 1947 Kashmir which brings together many capital dimensions of state, politics, and governance in Kashmir under one cover. While critically delineating the doings of the governments, the book does not only provide flesh and blood to some existing narratives, it also modifies and even refutes some of the long held assumptions on the basis of hitherto unexamined evidence. All in all, the book illuminates the reader about the policies of Indian state towards Kashmir and the extent the successive governments have succeeded in winning the emotional integration of Kashmiris with the Indian Union. As Sheikh Abdullah was a central figure of Kashmir politics and governance, the readers will find a refreshingly new light on his governance when he was in power, and a most influential agency to mould the public opinion when he was out of state power. Similar revealing information on the other governments are documented for the first time. Having studied each government in its own right, we find the governance characterized by change in continuity. Indeed, governance in Kashmir does not constitute one single development. In essence it is a diachronic assemblage, a composite result of different systems each with its own internal or imposed coherence moving at different speeds—some are stable, some move slowly, and some wear themselves out more quickly depending on various forces and factors. What Happened to Governance in Kashmir? is a telling tale on the state of governance in Kashmir; the policies and strategies adopted by Indian state and the successive patronage governments to grapple with the multifarious problems of the state. Kashmir is an ailing state. It is the victim of colonialism and partition, which subverted its geographical centrality with serious economic implications besides making it a permanent conflict state causing immense human and material loss. Besides being claimed by India, Pakistan, and Kashmiris, it is also a rainbow state very difficult to manage with various ethno-regional and sub-regional nationalities at cross-purposes. Added to this, it is a dependent state. This book situates governance in its total milieu and examines the governance in the framework of challenge and response continuum. It unfolds how in a conflict state like Kashmir democracy and governance is always guided and controlled. This is the first comprehensive book on the post 1947 governance in Kashmir.
Jonathan Lahey Dronsfield
- Published in print:
- 2015
- Published Online:
- September 2015
- ISBN:
- 9780748683178
- eISBN:
- 9781474408684
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748683178.003.0007
- Subject:
- Philosophy, Political Philosophy
For Jean-Luc Nancy there appear to be three ways in which art today is contemporary: conceptual non-identity with itself, being in tune with its own questioning, above all a political signification. ...
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For Jean-Luc Nancy there appear to be three ways in which art today is contemporary: conceptual non-identity with itself, being in tune with its own questioning, above all a political signification. Nancy is in agreement with the first two, the third he disclaims. Art's conceptual non-identity is consonant with its self-questioning, for the question which art unfolds is the ontological one of what it is; a question which makes art different from itself in itself. According to this twofold conception, art is before anything else the exposition of the question ‘What is art?’ It will be argued in this paper that art is our ‘disengagement’ from signification, our ‘suspension’ from it; it ‘isolates what we call a “sense,” or a part or feature of this sense… so as to force it to be only what it is outside of signifying’. Sense beyond signification is the abandonment of the signifier and the forswearing of the appropriation of signifieds in favour of opening, opening the world to its sense, opening the world to its possibilities.Less
For Jean-Luc Nancy there appear to be three ways in which art today is contemporary: conceptual non-identity with itself, being in tune with its own questioning, above all a political signification. Nancy is in agreement with the first two, the third he disclaims. Art's conceptual non-identity is consonant with its self-questioning, for the question which art unfolds is the ontological one of what it is; a question which makes art different from itself in itself. According to this twofold conception, art is before anything else the exposition of the question ‘What is art?’ It will be argued in this paper that art is our ‘disengagement’ from signification, our ‘suspension’ from it; it ‘isolates what we call a “sense,” or a part or feature of this sense… so as to force it to be only what it is outside of signifying’. Sense beyond signification is the abandonment of the signifier and the forswearing of the appropriation of signifieds in favour of opening, opening the world to its sense, opening the world to its possibilities.
John Patrick Diggins (ed.)
- Published in print:
- 2007
- Published Online:
- February 2013
- ISBN:
- 9780226148809
- eISBN:
- 9780226148823
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226148823.003.0007
- Subject:
- Literature, Drama
Eugene O'Neill's A Touch of the Poet and More Stately Mansions dealt with the conviction that America and American democracy had failed its ideals. A Touch of the Poet stood at the center of the ...
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Eugene O'Neill's A Touch of the Poet and More Stately Mansions dealt with the conviction that America and American democracy had failed its ideals. A Touch of the Poet stood at the center of the cycle project, whose “spiritual undertheme” was the Irish immigrant's acquisitive impulses and uncertain status. In More Stately Mansions, democratic America comes face to face with itself. The political loyalties of Sara and Simon Harford suggest a look at American historiography. The character Simon indicates why O'Neill thought self-determinism was the key to understanding human action and historical development. Sara and Deborah are polarities, one focused and almost predatory, the other aloof, effete, genteel, far removed from the sordid world of business. The equating of “grinding daily slavery” to working for a business firm is only one of several references to slavery in O'Neill's plays dealing with the Jacksonian era and the Civil War.Less
Eugene O'Neill's A Touch of the Poet and More Stately Mansions dealt with the conviction that America and American democracy had failed its ideals. A Touch of the Poet stood at the center of the cycle project, whose “spiritual undertheme” was the Irish immigrant's acquisitive impulses and uncertain status. In More Stately Mansions, democratic America comes face to face with itself. The political loyalties of Sara and Simon Harford suggest a look at American historiography. The character Simon indicates why O'Neill thought self-determinism was the key to understanding human action and historical development. Sara and Deborah are polarities, one focused and almost predatory, the other aloof, effete, genteel, far removed from the sordid world of business. The equating of “grinding daily slavery” to working for a business firm is only one of several references to slavery in O'Neill's plays dealing with the Jacksonian era and the Civil War.
Abbie Garrington
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780748641741
- eISBN:
- 9780748689118
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748641741.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
Haptic Modernism offers the first substantial account of the representation of the haptic sense modality in literature of the modernist period. That modality combines touch, kinaesthesis (the body’s ...
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Haptic Modernism offers the first substantial account of the representation of the haptic sense modality in literature of the modernist period. That modality combines touch, kinaesthesis (the body’s sense of its own movement), proprioception (bodily orientation), and the vestibular sense (registering balance), four areas of sensory experience undergoing radical shifts, and new conceptualisations, in response to technological and scientific innovations in the modernist years. The work of James Joyce, Virginia Woolf, Dorothy Richardson, D. H. Lawrence and Rebecca West is considered alongside other, non-canonical fictions, as well as scientific, philosophical, and journalistic accounts of bodily experiences in the realm of touch and the tactile. In a series of extended readings of significant novels, the book weaves together studies of the X-ray, atomic structure, the cinema spectator experience, the look-which-touches of the sculpture viewer, the touch-which-looks of the blind, the process of manicure, literary treatments of the writing hand, muscular responses to motorcar travel, and frightening tales of split skins, split selves, and severed hands run amok. Haptic Modernism asks why it is that modernist texts of various stripes return with unprecedented alacrity to the haptic experiences of the human body. On the other hand, it seeks to identify clusters of haptic happenings within modernist texts as a means of understanding the touch-transforming social and historical contexts out of which those writings emerge.Less
Haptic Modernism offers the first substantial account of the representation of the haptic sense modality in literature of the modernist period. That modality combines touch, kinaesthesis (the body’s sense of its own movement), proprioception (bodily orientation), and the vestibular sense (registering balance), four areas of sensory experience undergoing radical shifts, and new conceptualisations, in response to technological and scientific innovations in the modernist years. The work of James Joyce, Virginia Woolf, Dorothy Richardson, D. H. Lawrence and Rebecca West is considered alongside other, non-canonical fictions, as well as scientific, philosophical, and journalistic accounts of bodily experiences in the realm of touch and the tactile. In a series of extended readings of significant novels, the book weaves together studies of the X-ray, atomic structure, the cinema spectator experience, the look-which-touches of the sculpture viewer, the touch-which-looks of the blind, the process of manicure, literary treatments of the writing hand, muscular responses to motorcar travel, and frightening tales of split skins, split selves, and severed hands run amok. Haptic Modernism asks why it is that modernist texts of various stripes return with unprecedented alacrity to the haptic experiences of the human body. On the other hand, it seeks to identify clusters of haptic happenings within modernist texts as a means of understanding the touch-transforming social and historical contexts out of which those writings emerge.
Deborah Martin
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780719090349
- eISBN:
- 9781526109606
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719090349.003.0003
- Subject:
- Film, Television and Radio, Film
Chapter 2 focuses on Martel’s second feature, La niña santa, a film which depicts the anxious construction of hard-and-fast boundaries between right and wrong, good and evil, beauty and horror, ...
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Chapter 2 focuses on Martel’s second feature, La niña santa, a film which depicts the anxious construction of hard-and-fast boundaries between right and wrong, good and evil, beauty and horror, whilst revelling in the strangeness of a world in which everything – including its saintly-demonic heroine, and the moral and affective situations she negotiates, confounds these distinctions. In La niña santa, it is in particular the ideological conditions established by Catholicism – and their close relationship with constructions of femininity – which are subject to the scrutiny of Martel’s investigative gaze. The girls in this film suggest the possibility of resisting dominant narratives, a possibility with which the film is thematically and aesthetically engaged in multiple ways. The chapter explores the film’s aesthetic experiments alongside its foregrounding of the productive capacity of desire, arguing that both function to suggest ideological fissure and the glimpsing of alternative realities. Through its figuring of desire, and the female adolescent as agent of her desire, the film suggests the possibility of resistance to the subjective and identitarian roles and models into which she is socially summoned.Less
Chapter 2 focuses on Martel’s second feature, La niña santa, a film which depicts the anxious construction of hard-and-fast boundaries between right and wrong, good and evil, beauty and horror, whilst revelling in the strangeness of a world in which everything – including its saintly-demonic heroine, and the moral and affective situations she negotiates, confounds these distinctions. In La niña santa, it is in particular the ideological conditions established by Catholicism – and their close relationship with constructions of femininity – which are subject to the scrutiny of Martel’s investigative gaze. The girls in this film suggest the possibility of resisting dominant narratives, a possibility with which the film is thematically and aesthetically engaged in multiple ways. The chapter explores the film’s aesthetic experiments alongside its foregrounding of the productive capacity of desire, arguing that both function to suggest ideological fissure and the glimpsing of alternative realities. Through its figuring of desire, and the female adolescent as agent of her desire, the film suggests the possibility of resistance to the subjective and identitarian roles and models into which she is socially summoned.
