Denis McManus
- Published in print:
- 2006
- Published Online:
- January 2007
- ISBN:
- 9780199288021
- eISBN:
- 9780191713446
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199288021.003.0001
- Subject:
- Philosophy, History of Philosophy
This introductory chapter presents a sketch of the book as a whole. It identifies several features of the Tractatus that Wittgenstein himself described as crucial. It sets out a philosophical ...
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This introductory chapter presents a sketch of the book as a whole. It identifies several features of the Tractatus that Wittgenstein himself described as crucial. It sets out a philosophical conception of the intelligibility of thought labeled as ‘con-formism’, and which, the book argues, Wittgenstein seeks to undermine.Less
This introductory chapter presents a sketch of the book as a whole. It identifies several features of the Tractatus that Wittgenstein himself described as crucial. It sets out a philosophical conception of the intelligibility of thought labeled as ‘con-formism’, and which, the book argues, Wittgenstein seeks to undermine.
Denis McManus
- Published in print:
- 2006
- Published Online:
- January 2007
- ISBN:
- 9780199288021
- eISBN:
- 9780191713446
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199288021.003.0003
- Subject:
- Philosophy, History of Philosophy
This chapter presents some of the crucial proposals that the Tractatus offers concerning the nature of objects, facts, propositions, names, and what he calls ‘the internal relation of depicting that ...
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This chapter presents some of the crucial proposals that the Tractatus offers concerning the nature of objects, facts, propositions, names, and what he calls ‘the internal relation of depicting that holds between language and world’. It explores how Wittgenstein defends these proposals on the grounds that they free us from any commitment to there being impossibly ‘substantial’ logical truths. It sketches a possible interpretation of those proposals as articulating, nonetheless, a species of what is called ‘con-formism’ (cf. Ch.1), a species which is distinctive in being, strictly speaking, inexpressible. It goes on to argue that this interpretation is mistaken. An argument against con-formism is presented and how Wittgenstein’s sign/symbol distinction helps to articulate the confusion that con-formism embodies is explained.Less
This chapter presents some of the crucial proposals that the Tractatus offers concerning the nature of objects, facts, propositions, names, and what he calls ‘the internal relation of depicting that holds between language and world’. It explores how Wittgenstein defends these proposals on the grounds that they free us from any commitment to there being impossibly ‘substantial’ logical truths. It sketches a possible interpretation of those proposals as articulating, nonetheless, a species of what is called ‘con-formism’ (cf. Ch.1), a species which is distinctive in being, strictly speaking, inexpressible. It goes on to argue that this interpretation is mistaken. An argument against con-formism is presented and how Wittgenstein’s sign/symbol distinction helps to articulate the confusion that con-formism embodies is explained.
Denis McManus
- Published in print:
- 2006
- Published Online:
- January 2007
- ISBN:
- 9780199288021
- eISBN:
- 9780191713446
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199288021.003.0007
- Subject:
- Philosophy, History of Philosophy
Guided by the picture analogy, this chapter explores further how we succumb to the illusion that a con-formity between language and world underpins meaningful language use. It is argued that this ...
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Guided by the picture analogy, this chapter explores further how we succumb to the illusion that a con-formity between language and world underpins meaningful language use. It is argued that this illusion emerges as a result of our both having adopted particular ‘methods of comparison’ and failing to recognize that very adoption; certain equivocations over what we mean by ‘objects’ and ‘names’ — in other words, yet more sign/symbol conflations — serve to disguise this confusion, and hence, to conjure up this illusion. The role of Wittgenstein’s remarks about the ‘internal relatedness’ of propositions and names, and objects and names, in articulating and drawing our attention to the above confusions is further explored.Less
Guided by the picture analogy, this chapter explores further how we succumb to the illusion that a con-formity between language and world underpins meaningful language use. It is argued that this illusion emerges as a result of our both having adopted particular ‘methods of comparison’ and failing to recognize that very adoption; certain equivocations over what we mean by ‘objects’ and ‘names’ — in other words, yet more sign/symbol conflations — serve to disguise this confusion, and hence, to conjure up this illusion. The role of Wittgenstein’s remarks about the ‘internal relatedness’ of propositions and names, and objects and names, in articulating and drawing our attention to the above confusions is further explored.
Denis McManus
- Published in print:
- 2006
- Published Online:
- January 2007
- ISBN:
- 9780199288021
- eISBN:
- 9780191713446
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199288021.003.0009
- Subject:
- Philosophy, History of Philosophy
This chapter returns to Wittgenstein’s proposals about ‘objects’ in order to reveal how they can also be seen as reflecting our failure to ascribe sense to the notion of the thinker ‘coming to’ or ...
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This chapter returns to Wittgenstein’s proposals about ‘objects’ in order to reveal how they can also be seen as reflecting our failure to ascribe sense to the notion of the thinker ‘coming to’ or indeed already being ‘in contact with’ its world. We cannot make sense of deep worries about the capacity of ‘what we think about’ to be thought about: there are no questions to be raised in connection with the referents of the terms of the ultimate analyses of our propositions, about ‘their existence’, ‘their composition’, or ‘how they can combine to form facts’. But that points not to how the world must be constituted in order for thought to be possible, but to a confusion at the root of the idea of ‘thought being possible’.Less
This chapter returns to Wittgenstein’s proposals about ‘objects’ in order to reveal how they can also be seen as reflecting our failure to ascribe sense to the notion of the thinker ‘coming to’ or indeed already being ‘in contact with’ its world. We cannot make sense of deep worries about the capacity of ‘what we think about’ to be thought about: there are no questions to be raised in connection with the referents of the terms of the ultimate analyses of our propositions, about ‘their existence’, ‘their composition’, or ‘how they can combine to form facts’. But that points not to how the world must be constituted in order for thought to be possible, but to a confusion at the root of the idea of ‘thought being possible’.
Denis McManus
- Published in print:
- 2006
- Published Online:
- January 2007
- ISBN:
- 9780199288021
- eISBN:
- 9780191713446
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199288021.003.0014
- Subject:
- Philosophy, History of Philosophy
This chapter argues that Wittgenstein’s proposal that ethics is ‘inexpressible’ represents a rung on a ‘ladder’ that is to be ‘climbed’ and then ‘thrown away’. Evidence presented in the previous ...
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This chapter argues that Wittgenstein’s proposal that ethics is ‘inexpressible’ represents a rung on a ‘ladder’ that is to be ‘climbed’ and then ‘thrown away’. Evidence presented in the previous chapter is reviewed and other aspects of that evidence explored. It is argued that the forms of ‘inexpressible knowledge’ to which Wittgenstein leads us in his reflections on ethics — and logic — only loom if one is already under the influence of confused notions of what ‘knowledge’, ‘reasons’, and ‘expression’ represent in these spheres; confusions to a recognition of which Wittgenstein’s talk of ‘the inexpressible’ is meant to lead us. As elsewhere in the Tractatus, such talk leads us to recognize that confusions underpin philosophical projects to which we are committed, confusions that, once again, arise out of certain sign/symbol equivocations. How this realisation modulates the previous chapter’s proposals concerning ‘conscience’ and ‘decency’ is explored.Less
This chapter argues that Wittgenstein’s proposal that ethics is ‘inexpressible’ represents a rung on a ‘ladder’ that is to be ‘climbed’ and then ‘thrown away’. Evidence presented in the previous chapter is reviewed and other aspects of that evidence explored. It is argued that the forms of ‘inexpressible knowledge’ to which Wittgenstein leads us in his reflections on ethics — and logic — only loom if one is already under the influence of confused notions of what ‘knowledge’, ‘reasons’, and ‘expression’ represent in these spheres; confusions to a recognition of which Wittgenstein’s talk of ‘the inexpressible’ is meant to lead us. As elsewhere in the Tractatus, such talk leads us to recognize that confusions underpin philosophical projects to which we are committed, confusions that, once again, arise out of certain sign/symbol equivocations. How this realisation modulates the previous chapter’s proposals concerning ‘conscience’ and ‘decency’ is explored.
Floyd Grave and Margaret Grave
- Published in print:
- 2006
- Published Online:
- May 2008
- ISBN:
- 9780195173574
- eISBN:
- 9780199872152
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195173574.003.0004
- Subject:
- Music, History, Western
Conceived as a consortium of solo voices, a Haydn quartet is perpetually vulnerable to having the norm of first-violin leadership challenged, compromised, complicated, or temporarily overturned. The ...
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Conceived as a consortium of solo voices, a Haydn quartet is perpetually vulnerable to having the norm of first-violin leadership challenged, compromised, complicated, or temporarily overturned. The almost ubiquitously destabilized environment that prevails involves continuously changing relationships among the instruments, a concomitant variety of texture, sonority, and register, and numerous devices for blending and separating different strands of line and accompaniment. Separation is most intense in soloistic passages for the first violin, which occasionally climbs to its highest range. In addition to such vividly opposed states as strident unison and blended, hymn-like homophony, there are allusions to strict polyphony, including examples of canon and fugue, and many instances of loosely woven, conversational texture in which thematic threads pass from one part to another. Special effects include bagpipe-imitating drone basses, pizzicato, and the use of mutes (con sordino).Less
Conceived as a consortium of solo voices, a Haydn quartet is perpetually vulnerable to having the norm of first-violin leadership challenged, compromised, complicated, or temporarily overturned. The almost ubiquitously destabilized environment that prevails involves continuously changing relationships among the instruments, a concomitant variety of texture, sonority, and register, and numerous devices for blending and separating different strands of line and accompaniment. Separation is most intense in soloistic passages for the first violin, which occasionally climbs to its highest range. In addition to such vividly opposed states as strident unison and blended, hymn-like homophony, there are allusions to strict polyphony, including examples of canon and fugue, and many instances of loosely woven, conversational texture in which thematic threads pass from one part to another. Special effects include bagpipe-imitating drone basses, pizzicato, and the use of mutes (con sordino).
David Manning
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195182392
- eISBN:
- 9780199851485
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195182392.003.0092
- Subject:
- Music, History, Western
The Fantasia begins with a figure in the pianoforte left hand, which after a few bars becomes the accompaniment to the principal theme, played by the violin. The pianoforte later takes up this theme, ...
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The Fantasia begins with a figure in the pianoforte left hand, which after a few bars becomes the accompaniment to the principal theme, played by the violin. The pianoforte later takes up this theme, while the violin plays with the accompaniment figure and works up to a cadenza-like passage. A new subject appears for the pianoforte alone, which is repeated, more or less exactly, by the violin. The principal subject is then developed, with the relative positions of the two instruments reversed. This development continues on similar, but not identical lines to the opening. It leads to a still-longer cadenza, then, with a reference to the second subject, the movement finishes very softly. The Scherzo is founded almost entirely on one figure that is first played on the pianoforte. Tema con variazione is given out by the pianoforte alone in three octaves without harmony, and is repeated, phrase by phrase, on the violin.Less
The Fantasia begins with a figure in the pianoforte left hand, which after a few bars becomes the accompaniment to the principal theme, played by the violin. The pianoforte later takes up this theme, while the violin plays with the accompaniment figure and works up to a cadenza-like passage. A new subject appears for the pianoforte alone, which is repeated, more or less exactly, by the violin. The principal subject is then developed, with the relative positions of the two instruments reversed. This development continues on similar, but not identical lines to the opening. It leads to a still-longer cadenza, then, with a reference to the second subject, the movement finishes very softly. The Scherzo is founded almost entirely on one figure that is first played on the pianoforte. Tema con variazione is given out by the pianoforte alone in three octaves without harmony, and is repeated, phrase by phrase, on the violin.
Erin K. Hogan
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781474436113
- eISBN:
- 9781474453622
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474436113.001.0001
- Subject:
- Film, Television and Radio, Film
The Two cines con niño is the first genre study of Spanish-language child-starred cinemas. It illuminates continuities in the political use of the child protagonist in over fifty years of cinema ...
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The Two cines con niño is the first genre study of Spanish-language child-starred cinemas. It illuminates continuities in the political use of the child protagonist in over fifty years of cinema from Spain and how the child-starred genres use the concept of childhood to define the nation’s past, present, and future. From Francoist popular to oppositional auteur films, and including Latin American cinema, this monograph examines dialogism in aesthetics, narratives, and genre functions. It demonstrates the impact of these narratives within Spanish film history and Francoist biopolitics, as well as providing a broader transatlantic perspective on the genre in select productions from Chile and Argentina. In-depth inquiry within its pages examines films by Pedro Almodóvar, Antonio del Amo, Montxo Armendáriz, Benjamín Ávila, Juan Antonio Bayona, José Luis Cuerda, Guillermo del Toro, Víctor Erice, Manuel Gutiérrez Aragón, Arantxa Lazkano, Luis Lucía, Paula Markovtich, Javier Ruiz Caldera, Carlos Saura, Imanol Uribe, Ladislao Vajda, Agustí Villaronga, and Andrés Wood.Less
The Two cines con niño is the first genre study of Spanish-language child-starred cinemas. It illuminates continuities in the political use of the child protagonist in over fifty years of cinema from Spain and how the child-starred genres use the concept of childhood to define the nation’s past, present, and future. From Francoist popular to oppositional auteur films, and including Latin American cinema, this monograph examines dialogism in aesthetics, narratives, and genre functions. It demonstrates the impact of these narratives within Spanish film history and Francoist biopolitics, as well as providing a broader transatlantic perspective on the genre in select productions from Chile and Argentina. In-depth inquiry within its pages examines films by Pedro Almodóvar, Antonio del Amo, Montxo Armendáriz, Benjamín Ávila, Juan Antonio Bayona, José Luis Cuerda, Guillermo del Toro, Víctor Erice, Manuel Gutiérrez Aragón, Arantxa Lazkano, Luis Lucía, Paula Markovtich, Javier Ruiz Caldera, Carlos Saura, Imanol Uribe, Ladislao Vajda, Agustí Villaronga, and Andrés Wood.
Lincoln Geraghty
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781628462340
- eISBN:
- 9781626746787
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628462340.003.0005
- Subject:
- Literature, Comics Studies
Following Russell T. Davies’ successful 2005 reboot of the once dead franchise, Doctor Who is now the BBC’s chief television export to the world and a global brand. The Doctor has become a ...
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Following Russell T. Davies’ successful 2005 reboot of the once dead franchise, Doctor Who is now the BBC’s chief television export to the world and a global brand. The Doctor has become a quintessential British superhero: his knowledge knows no bounds; he has the power to travel through time and space; his companions bring their own spirit, personality and abilities to his time travelling missions; and, most of all, he is driven to protect the innocent and save those in need. One sign of the Doctor’s international success comes at the annual San Diego Comic Con where BBC America has made a concerted effort to attract and build a loyal American audience - with the latest series of Doctor Who achieving a Comic Con first for the BBC by having its panel held in the famous Hall H (a 7,000 seat auditorium usually reserved for big Hollywood premieres, attracting star names and very long queues). This chapter investigates the importance of the San Diego Comic Con in the global circulation of popular media texts, but then builds on this by discussing the increasing significance and popularity of international superhero and science fiction franchises in the American media industry.Less
Following Russell T. Davies’ successful 2005 reboot of the once dead franchise, Doctor Who is now the BBC’s chief television export to the world and a global brand. The Doctor has become a quintessential British superhero: his knowledge knows no bounds; he has the power to travel through time and space; his companions bring their own spirit, personality and abilities to his time travelling missions; and, most of all, he is driven to protect the innocent and save those in need. One sign of the Doctor’s international success comes at the annual San Diego Comic Con where BBC America has made a concerted effort to attract and build a loyal American audience - with the latest series of Doctor Who achieving a Comic Con first for the BBC by having its panel held in the famous Hall H (a 7,000 seat auditorium usually reserved for big Hollywood premieres, attracting star names and very long queues). This chapter investigates the importance of the San Diego Comic Con in the global circulation of popular media texts, but then builds on this by discussing the increasing significance and popularity of international superhero and science fiction franchises in the American media industry.
J. P. Telotte and Gerald Duchovnay (eds)
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781781381830
- eISBN:
- 9781781382363
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781781381830.001.0001
- Subject:
- Film, Television and Radio, Film
Critical discussion of cult cinema has often noted its tendency to straddle or ignore boundaries, to pull together different sets of conventions, narrative formulas, or character types for the almost ...
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Critical discussion of cult cinema has often noted its tendency to straddle or ignore boundaries, to pull together different sets of conventions, narrative formulas, or character types for the almost surreal pleasure to be found in their sudden juxtapositions or narrative combination. With its own boundary-blurring nature — as both science and fiction, reality and fantasy — science fiction (sf) has played a key role in such cinematic cult formation. This volume examines that largely unexplored relationship, looking at how the sf film's own double nature neatly matches up with a persistent double vision common to the cult film. It does so by addressing key questions about the intersections of sf and cult cinema: how different genre elements, directors, and stars contribute to cult formation; what role fan activities, including ‘con’ participation, play in cult development; and how the occulted or ‘bad’ sf cult film works. The volume pursues these questions by addressing a variety of such sf cult works, including Robot Monster (1953), Zardoz (1974), A Boy and His Dog (1975), Tetsuo: The Iron Man (1989), Space Truckers (1996), Ghost in the Shell 2 (2004), and Iron Sky (2012). What these chapters afford is a revealing vision of both the sf aspects of much cult film activity and the cultish aspects of the whole sf genre.Less
Critical discussion of cult cinema has often noted its tendency to straddle or ignore boundaries, to pull together different sets of conventions, narrative formulas, or character types for the almost surreal pleasure to be found in their sudden juxtapositions or narrative combination. With its own boundary-blurring nature — as both science and fiction, reality and fantasy — science fiction (sf) has played a key role in such cinematic cult formation. This volume examines that largely unexplored relationship, looking at how the sf film's own double nature neatly matches up with a persistent double vision common to the cult film. It does so by addressing key questions about the intersections of sf and cult cinema: how different genre elements, directors, and stars contribute to cult formation; what role fan activities, including ‘con’ participation, play in cult development; and how the occulted or ‘bad’ sf cult film works. The volume pursues these questions by addressing a variety of such sf cult works, including Robot Monster (1953), Zardoz (1974), A Boy and His Dog (1975), Tetsuo: The Iron Man (1989), Space Truckers (1996), Ghost in the Shell 2 (2004), and Iron Sky (2012). What these chapters afford is a revealing vision of both the sf aspects of much cult film activity and the cultish aspects of the whole sf genre.
Yannis Tzioumakis
- Published in print:
- 2009
- Published Online:
- September 2012
- ISBN:
- 9780748633685
- eISBN:
- 9780748671236
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748633685.003.0006
- Subject:
- Film, Television and Radio, Film
This main focal point of this chapter is The Spanish Prisoner’s generic status. It introduces the labels ‘con artist film’ and ‘con game film’ and argues that Mamet’s film is an example of the second ...
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This main focal point of this chapter is The Spanish Prisoner’s generic status. It introduces the labels ‘con artist film’ and ‘con game film’ and argues that Mamet’s film is an example of the second category. Although con game films share a number of traits and conventions with crime films and thrillers (almost universally film critics have labelled The Spanish Prisoner a crime film and/or a thriller) they also present fundamental differences. Arguably, the most important difference is that while the disruption of the equilibrium in the narrative of crime films is marked by physical violence, in con artist films it is marked by failure in a character’s cognitive abilities to recognise the truth behind appearances. This failure is also “anticipated” on a spectatorial level as the dense plots of such films and their complicated narration prevent all but the most alert of spectators from grasping the finer details of elaborate confidence tricks that constitute the narratives of such films. After introducing the key characteristics of the con artist and the con game film, the chapter provides a close analysis of The Spanish Prisoner as a representative example of the latter generic label.Less
This main focal point of this chapter is The Spanish Prisoner’s generic status. It introduces the labels ‘con artist film’ and ‘con game film’ and argues that Mamet’s film is an example of the second category. Although con game films share a number of traits and conventions with crime films and thrillers (almost universally film critics have labelled The Spanish Prisoner a crime film and/or a thriller) they also present fundamental differences. Arguably, the most important difference is that while the disruption of the equilibrium in the narrative of crime films is marked by physical violence, in con artist films it is marked by failure in a character’s cognitive abilities to recognise the truth behind appearances. This failure is also “anticipated” on a spectatorial level as the dense plots of such films and their complicated narration prevent all but the most alert of spectators from grasping the finer details of elaborate confidence tricks that constitute the narratives of such films. After introducing the key characteristics of the con artist and the con game film, the chapter provides a close analysis of The Spanish Prisoner as a representative example of the latter generic label.
Yannis Tzioumakis
- Published in print:
- 2009
- Published Online:
- September 2012
- ISBN:
- 9780748633685
- eISBN:
- 9780748671236
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748633685.001.0001
- Subject:
- Film, Television and Radio, Film
David Mamet’s The Spanish Prisoner is a fine example of American independent cinema in transition. Made by a playwright-turned-filmmaker with a distinctive approach to questions of narrative and ...
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David Mamet’s The Spanish Prisoner is a fine example of American independent cinema in transition. Made by a playwright-turned-filmmaker with a distinctive approach to questions of narrative and visual style at a time (the late 1990s) when the boundaries between what was considered independent filmmaking and what mainstream cinema had been, arguably, eroding, The Spanish Prisoner achieved critical and commercial success. It also demonstrated that a place still existed for filmmakers with highly unusual takes on the art of cinema, like David Mamet. Nodding to such crowd-pleasing classics as Hitchcock’s North by Northwest, The Spanish Prisoner is a particularly idiosyncratic film that betrays its origin outside the Hollywood mainstream. Featuring a heavily convoluted narrative that is the product of an unreliable narration; an excessive, often anti-classical, visual style that draws attention to itself; and belonging to the generic category of the ‘con game film’, which actively challenges the spectator to comprehend the unfolding of the narrative, The Spanish Prisoner is a film that bridges genre filmmaking with personal visual style, independent film production with niche distribution and mainstream subject matter with unconventional filmic techniques. This book discusses The Spanish Prisoner as an example of contemporary American independent cinema while also using it as a vehicle to explore several key ideas in film studies, especially in terms of aesthetics, narrative, style and genre.Less
David Mamet’s The Spanish Prisoner is a fine example of American independent cinema in transition. Made by a playwright-turned-filmmaker with a distinctive approach to questions of narrative and visual style at a time (the late 1990s) when the boundaries between what was considered independent filmmaking and what mainstream cinema had been, arguably, eroding, The Spanish Prisoner achieved critical and commercial success. It also demonstrated that a place still existed for filmmakers with highly unusual takes on the art of cinema, like David Mamet. Nodding to such crowd-pleasing classics as Hitchcock’s North by Northwest, The Spanish Prisoner is a particularly idiosyncratic film that betrays its origin outside the Hollywood mainstream. Featuring a heavily convoluted narrative that is the product of an unreliable narration; an excessive, often anti-classical, visual style that draws attention to itself; and belonging to the generic category of the ‘con game film’, which actively challenges the spectator to comprehend the unfolding of the narrative, The Spanish Prisoner is a film that bridges genre filmmaking with personal visual style, independent film production with niche distribution and mainstream subject matter with unconventional filmic techniques. This book discusses The Spanish Prisoner as an example of contemporary American independent cinema while also using it as a vehicle to explore several key ideas in film studies, especially in terms of aesthetics, narrative, style and genre.
Frederick Nolan
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780195102895
- eISBN:
- 9780199853212
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195102895.003.0002
- Subject:
- Music, Popular
In 1915, Lorenz Hart transferred from Columbia Grammar to the Columbia University School of Journalism. There he joined an extension class in dramatic technique conducted by Professor Hatcher Hughes, ...
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In 1915, Lorenz Hart transferred from Columbia Grammar to the Columbia University School of Journalism. There he joined an extension class in dramatic technique conducted by Professor Hatcher Hughes, himself an aspiring playwright who would collaborate with Elmer Rice on the 1921 production Wake Up, Jonathan and win a Pulitzer Prize in 1924 with his play Hell-Bent fer Heaven. Hart apparently never had any serious intention of becoming a journalist, but his interest in literature, poetry, and the theatre soon led him, along with many of his classmates, to submit smart little verses and prose items to the famous “Conning Tower” column written by Franklin P. Adams. Through Philip Leavitt, Richard Rodgers meets Hart. They were a study in opposites. Of Hart's feelings there can equally be no doubt. As Philip Leavitt put it with such unwitting percipience, it was love at first sight.Less
In 1915, Lorenz Hart transferred from Columbia Grammar to the Columbia University School of Journalism. There he joined an extension class in dramatic technique conducted by Professor Hatcher Hughes, himself an aspiring playwright who would collaborate with Elmer Rice on the 1921 production Wake Up, Jonathan and win a Pulitzer Prize in 1924 with his play Hell-Bent fer Heaven. Hart apparently never had any serious intention of becoming a journalist, but his interest in literature, poetry, and the theatre soon led him, along with many of his classmates, to submit smart little verses and prose items to the famous “Conning Tower” column written by Franklin P. Adams. Through Philip Leavitt, Richard Rodgers meets Hart. They were a study in opposites. Of Hart's feelings there can equally be no doubt. As Philip Leavitt put it with such unwitting percipience, it was love at first sight.
Tamar Frankel
- Published in print:
- 2012
- Published Online:
- April 2015
- ISBN:
- 9780199926619
- eISBN:
- 9780190258511
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780199926619.001.0001
- Subject:
- Business and Management, Innovation
Charles Ponzi perpetrated his infamous scheme almost a hundred years ago. But his method of using new investments to pay existing investors and finance a highflying lifestyle is alive and well: just ...
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Charles Ponzi perpetrated his infamous scheme almost a hundred years ago. But his method of using new investments to pay existing investors and finance a highflying lifestyle is alive and well: just as much money is lost in the United States today from Ponzi schemes as from shoplifting. Somehow, con artists are able to dazzle wealthy, educated individuals and sophisticated institutions and convince them to hand over huge sums of money. How? This book explores these con artists' fascinating power of persuasion and deception, uncovering the subtle signals that mimic truth and honesty. After years of close study of hundreds of cases, the book explains the striking patterns that emerge and the common characteristics of the con artists and their victims. It offers descriptions of the various designs of Ponzi schemers' attractive offers and flags the ways in which they mask their deception through specialized methods of advertising and selling. It then constructs lucid profiles of the con artists and their victims, exposing the core nature of the people at the heart of the schemes and showing how over time the lines between predator and prey are blurred. There are indeed many lessons to learn from these stories, and Frankel brings them to light through the insightful results of her research. The book shows how peoples' attitudes are ambivalent and uncertain toward con artists, perhaps because their behavior is so seemingly honest, because they act like the social leaders with whom they are likely to mingle, or perhaps because their actions are thought to shake up a complacent society. The book concludes by offering a solution on how to prevent charming, dangerous con artists from perpetuating the enduring, disastrous legacy of Charles Ponzi.Less
Charles Ponzi perpetrated his infamous scheme almost a hundred years ago. But his method of using new investments to pay existing investors and finance a highflying lifestyle is alive and well: just as much money is lost in the United States today from Ponzi schemes as from shoplifting. Somehow, con artists are able to dazzle wealthy, educated individuals and sophisticated institutions and convince them to hand over huge sums of money. How? This book explores these con artists' fascinating power of persuasion and deception, uncovering the subtle signals that mimic truth and honesty. After years of close study of hundreds of cases, the book explains the striking patterns that emerge and the common characteristics of the con artists and their victims. It offers descriptions of the various designs of Ponzi schemers' attractive offers and flags the ways in which they mask their deception through specialized methods of advertising and selling. It then constructs lucid profiles of the con artists and their victims, exposing the core nature of the people at the heart of the schemes and showing how over time the lines between predator and prey are blurred. There are indeed many lessons to learn from these stories, and Frankel brings them to light through the insightful results of her research. The book shows how peoples' attitudes are ambivalent and uncertain toward con artists, perhaps because their behavior is so seemingly honest, because they act like the social leaders with whom they are likely to mingle, or perhaps because their actions are thought to shake up a complacent society. The book concludes by offering a solution on how to prevent charming, dangerous con artists from perpetuating the enduring, disastrous legacy of Charles Ponzi.
Birgit Lang
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780719099434
- eISBN:
- 9781526124098
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719099434.003.0005
- Subject:
- History, History of Ideas
State Prosecutor and legal reformer Erich Wulffen used the case study genre for legal and largely didactic purposes. Chapter 4 illustrates the adoption of the conventions of sexological case writing ...
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State Prosecutor and legal reformer Erich Wulffen used the case study genre for legal and largely didactic purposes. Chapter 4 illustrates the adoption of the conventions of sexological case writing by the legal fraternity in twentieth-century Central Europe, and ways in which Wulffen brought the case study genre from the hidden world of the court to the wider public. In doing this, Wulffen carved a niche for himself as an expert in legal reform and sexology in Wilhelmine and Weimar Germany. He embraced different kinds of case modalities over the course of his professional career, targeting professional, middle-class audiences and the wider reading public during his thirty years in the role of prosecutor. The changing success of Wulffen’s publications highlights the intensifying crisis of the expert case study as a modality able to ‘speak the truth’ about modern sexuality and deviance. While Wulffen’s expert case studies about con men and other criminals were highly successful during the Wilhelmine era, the same approach and model for case writing met a more critical audience after 1918. Wulffen embraced the challenge of a new democratic environment by writing implicitly didactical popular crime novels. However, eventually his criminal subjects literally ‘wrote back’ after their sensationalised trials, using case studies in an attempt to narrate their own versions of events. The accounts of these criminals-turned-writers such as convicted paedophile Edith Cadivec. Thus the popularisation of sensationalist case studies, written, for instance, by perpetrators of crime, was an important factor in the case study genre’s loss of respectability.Less
State Prosecutor and legal reformer Erich Wulffen used the case study genre for legal and largely didactic purposes. Chapter 4 illustrates the adoption of the conventions of sexological case writing by the legal fraternity in twentieth-century Central Europe, and ways in which Wulffen brought the case study genre from the hidden world of the court to the wider public. In doing this, Wulffen carved a niche for himself as an expert in legal reform and sexology in Wilhelmine and Weimar Germany. He embraced different kinds of case modalities over the course of his professional career, targeting professional, middle-class audiences and the wider reading public during his thirty years in the role of prosecutor. The changing success of Wulffen’s publications highlights the intensifying crisis of the expert case study as a modality able to ‘speak the truth’ about modern sexuality and deviance. While Wulffen’s expert case studies about con men and other criminals were highly successful during the Wilhelmine era, the same approach and model for case writing met a more critical audience after 1918. Wulffen embraced the challenge of a new democratic environment by writing implicitly didactical popular crime novels. However, eventually his criminal subjects literally ‘wrote back’ after their sensationalised trials, using case studies in an attempt to narrate their own versions of events. The accounts of these criminals-turned-writers such as convicted paedophile Edith Cadivec. Thus the popularisation of sensationalist case studies, written, for instance, by perpetrators of crime, was an important factor in the case study genre’s loss of respectability.
- Published in print:
- 2009
- Published Online:
- June 2013
- ISBN:
- 9780804769549
- eISBN:
- 9780804773492
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804769549.003.0004
- Subject:
- Literature, European Literature
Since its inception in the late sixteenth century, modern European theater has been driven by the relation between truth and illusion—the same troubled relation that has hounded modern philosophy. ...
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Since its inception in the late sixteenth century, modern European theater has been driven by the relation between truth and illusion—the same troubled relation that has hounded modern philosophy. The aporia born of that dialectic is philosophy's nemesis, but was and has always been theater's plaything. This chapter examines three examples of the baroque Hispanic theater, focusing on how the aporia of truth and appearances, as well as presence and its mediation, is at constant play in the theater of truth that is the Baroque. It analyzes the relation between truth and appearances by looking at Juan Ruiz de Alarcón's play La verdad sospechosa (The Suspect Truth). In particular, it explores how La verdad sospechosa offers insight into the fundamentally theatrical structure of the Baroque and its play of truth. The chapter also examines two other plays, Agustín Moreto's El desdén con el desdén and the anonymous La estrella de Sevilla (The Star of Seville).Less
Since its inception in the late sixteenth century, modern European theater has been driven by the relation between truth and illusion—the same troubled relation that has hounded modern philosophy. The aporia born of that dialectic is philosophy's nemesis, but was and has always been theater's plaything. This chapter examines three examples of the baroque Hispanic theater, focusing on how the aporia of truth and appearances, as well as presence and its mediation, is at constant play in the theater of truth that is the Baroque. It analyzes the relation between truth and appearances by looking at Juan Ruiz de Alarcón's play La verdad sospechosa (The Suspect Truth). In particular, it explores how La verdad sospechosa offers insight into the fundamentally theatrical structure of the Baroque and its play of truth. The chapter also examines two other plays, Agustín Moreto's El desdén con el desdén and the anonymous La estrella de Sevilla (The Star of Seville).
Tamar Frankel
- Published in print:
- 2012
- Published Online:
- April 2015
- ISBN:
- 9780199926619
- eISBN:
- 9780190258511
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780199926619.003.0008
- Subject:
- Business and Management, Innovation
This chapter offers a number of observations on the Ponzi schemes. Con artists mirror trustworthy people. Deceitful actions can resemble legitimate activities. Promises of unbelievable profits are ...
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This chapter offers a number of observations on the Ponzi schemes. Con artists mirror trustworthy people. Deceitful actions can resemble legitimate activities. Promises of unbelievable profits are often false. Following others may be beneficial, but also dangerous if followed blindly. Some people ignore signs of danger and are overwhelmed by the positive yet misleading signals that con artists send. Self-protection from charming and dangerous con artists must involve self-examination. The more captivating the con artists seem, the more tempting their stories and promises are.Less
This chapter offers a number of observations on the Ponzi schemes. Con artists mirror trustworthy people. Deceitful actions can resemble legitimate activities. Promises of unbelievable profits are often false. Following others may be beneficial, but also dangerous if followed blindly. Some people ignore signs of danger and are overwhelmed by the positive yet misleading signals that con artists send. Self-protection from charming and dangerous con artists must involve self-examination. The more captivating the con artists seem, the more tempting their stories and promises are.
Joseph Redfield Palmisano
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780199925025
- eISBN:
- 9780199980451
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199925025.003.0003
- Subject:
- Religion, Judaism
The chapter assembles a “personalist” hermeneutic by way of Emmanuel Mounier's Personalism. Mounier's personalist hermeneutic gives us a lens for examining how pathos may call the prophetic ...
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The chapter assembles a “personalist” hermeneutic by way of Emmanuel Mounier's Personalism. Mounier's personalist hermeneutic gives us a lens for examining how pathos may call the prophetic witness—as a person—into relationship with the divine Subject. Through this call and response dialectic, we examine the nature and kind of the prophet's “sympathetic” response with a critical question for Heschel in mind: if God is the Subject, then may the prophetic witness also be qualified as a subject beyond the reification of being an unqualified “prophetic” extension (vasum Dei) of the divine? Stein's articulation of the prophet as a unique, independent center of action pushes Heschel to consider how the prophet may enter an authentic—as he argues trans-subjective—situation with the divine, beyond the “non-mutual” category of becoming a non-self.Less
The chapter assembles a “personalist” hermeneutic by way of Emmanuel Mounier's Personalism. Mounier's personalist hermeneutic gives us a lens for examining how pathos may call the prophetic witness—as a person—into relationship with the divine Subject. Through this call and response dialectic, we examine the nature and kind of the prophet's “sympathetic” response with a critical question for Heschel in mind: if God is the Subject, then may the prophetic witness also be qualified as a subject beyond the reification of being an unqualified “prophetic” extension (vasum Dei) of the divine? Stein's articulation of the prophet as a unique, independent center of action pushes Heschel to consider how the prophet may enter an authentic—as he argues trans-subjective—situation with the divine, beyond the “non-mutual” category of becoming a non-self.
Jeremy Weinstein
- Published in print:
- 2011
- Published Online:
- March 2012
- ISBN:
- 9781847428189
- eISBN:
- 9781447303138
- Item type:
- chapter
- Publisher:
- Policy Press
- DOI:
- 10.1332/policypress/9781847428189.003.0002
- Subject:
- Social Work, Social Policy
Radical social work was published in 1975, while Case Con, ‘the revolutionary magazine for social workers’, first appeared in 1970. Both the book and the magazine shared a social and historical ...
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Radical social work was published in 1975, while Case Con, ‘the revolutionary magazine for social workers’, first appeared in 1970. Both the book and the magazine shared a social and historical moment and were engaged in the same struggles, but they stepped onto the stage at slightly different times and played somewhat different roles. This chapter explores the experience of Case Con, both as a quarterly magazine and as an aspiring organisation of radical social workers, and how it complemented and/or competed with Radical social work in the development of radical social work in Britain in the 1970s. The magazine reflected a potent mixture of theory and activism. A fairly continuous theme was homelessness, with squatters supported when they resisted the bailiffs, and on occasions, families were sheltered in social-work offices to prevent their children being received into care.Less
Radical social work was published in 1975, while Case Con, ‘the revolutionary magazine for social workers’, first appeared in 1970. Both the book and the magazine shared a social and historical moment and were engaged in the same struggles, but they stepped onto the stage at slightly different times and played somewhat different roles. This chapter explores the experience of Case Con, both as a quarterly magazine and as an aspiring organisation of radical social workers, and how it complemented and/or competed with Radical social work in the development of radical social work in Britain in the 1970s. The magazine reflected a potent mixture of theory and activism. A fairly continuous theme was homelessness, with squatters supported when they resisted the bailiffs, and on occasions, families were sheltered in social-work offices to prevent their children being received into care.
David Jon Furbish
- Published in print:
- 1997
- Published Online:
- November 2020
- ISBN:
- 9780195077018
- eISBN:
- 9780197560358
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780195077018.003.0005
- Subject:
- Earth Sciences and Geography, Geophysics: Earth Sciences
Fluids are involved in virtually all geological processes. Obvious examples are phenomena occurring at Earth’s surface in which fluid flow is a highlight: the flow of ...
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Fluids are involved in virtually all geological processes. Obvious examples are phenomena occurring at Earth’s surface in which fluid flow is a highlight: the flow of a lava stream, the play of a geyser, river flow and wind currents, the swash and backswash on a beach. Also obvious are phenomena that occur in the presence of fluid flows, such as sediment motion. Less obvious, but readily imaginable in terms of their behaviors, are fluid motions occurring within Earth’s crust: flows of magma and ground water, and expulsion of brines from sediments during compaction. In addition, a bit of reflection will recall a host of phenomena in which fluid behavior, although not the highlight, may nonetheless take on a significant role: initiation of landslides, seismic activity, glacier movement, taphonomic organization, and fracture mechanics. With these should be considered instances in which the geological material containing a fluid can influence its fundamental behavior at a molecular scale. An example is flow through very small rock pores, where molecular forces interacting among fluid molecules and pore surfaces can lead to a structural arrangement of the fluid molecules such that their mechanical behavior is unlike that which occurs in large pores, where the bulk of the fluid is “far” from pore surfaces. It is thus understandable that to describe many geologic phenomena requires knowing how fluids work. It is also natural to begin by considering how fluids behave in a general way, then in turn, how they are involved in specific geological processes. There are several approaches for describing fluids and their motions, and the choice of one, or some combination, depends on the sort of insight desired as well as the specific problem being considered. Fluid statics, as the name implies, involves considering the properties of fluids that are at rest in some inertial frame of reference. Note that this frame of reference may actually be moving relative to the Earth frame of reference, so long as the fluid motion is like that of a rigid body. An important example of our use of fluid statics will be in developing the hydrostatic equation, which formalizes how fluid pressure varies with depth.
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Fluids are involved in virtually all geological processes. Obvious examples are phenomena occurring at Earth’s surface in which fluid flow is a highlight: the flow of a lava stream, the play of a geyser, river flow and wind currents, the swash and backswash on a beach. Also obvious are phenomena that occur in the presence of fluid flows, such as sediment motion. Less obvious, but readily imaginable in terms of their behaviors, are fluid motions occurring within Earth’s crust: flows of magma and ground water, and expulsion of brines from sediments during compaction. In addition, a bit of reflection will recall a host of phenomena in which fluid behavior, although not the highlight, may nonetheless take on a significant role: initiation of landslides, seismic activity, glacier movement, taphonomic organization, and fracture mechanics. With these should be considered instances in which the geological material containing a fluid can influence its fundamental behavior at a molecular scale. An example is flow through very small rock pores, where molecular forces interacting among fluid molecules and pore surfaces can lead to a structural arrangement of the fluid molecules such that their mechanical behavior is unlike that which occurs in large pores, where the bulk of the fluid is “far” from pore surfaces. It is thus understandable that to describe many geologic phenomena requires knowing how fluids work. It is also natural to begin by considering how fluids behave in a general way, then in turn, how they are involved in specific geological processes. There are several approaches for describing fluids and their motions, and the choice of one, or some combination, depends on the sort of insight desired as well as the specific problem being considered. Fluid statics, as the name implies, involves considering the properties of fluids that are at rest in some inertial frame of reference. Note that this frame of reference may actually be moving relative to the Earth frame of reference, so long as the fluid motion is like that of a rigid body. An important example of our use of fluid statics will be in developing the hydrostatic equation, which formalizes how fluid pressure varies with depth.
