Laurence Freeman
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780197265536
- eISBN:
- 9780191760327
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197265536.003.0008
- Subject:
- Political Science, Environmental Politics
Contemplative consciousness opens up new ways to seeing and understanding, by refreshing the mind and spirit for acceptance of the unusual and the seemingly unconnected. The prophetic seeks radical ...
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Contemplative consciousness opens up new ways to seeing and understanding, by refreshing the mind and spirit for acceptance of the unusual and the seemingly unconnected. The prophetic seeks radical insights into the transformation of present structures, no matter how apparently complex. Both search for the undeniable human need to give meaning to experience, observation, and prophesy. Mortality provides another backdrop, as well as the merging of contradictions. Simplicity, stillness, meditation, and free ranging thought based on faith and love enable us to contemplate tipping points from the unimaginable to the imaginable. The best science is contemplative. And the best responses are just, moderate, prudent, and courageous. We need to learn to respond, and contemplative meditation opens the pathways of the mind.Less
Contemplative consciousness opens up new ways to seeing and understanding, by refreshing the mind and spirit for acceptance of the unusual and the seemingly unconnected. The prophetic seeks radical insights into the transformation of present structures, no matter how apparently complex. Both search for the undeniable human need to give meaning to experience, observation, and prophesy. Mortality provides another backdrop, as well as the merging of contradictions. Simplicity, stillness, meditation, and free ranging thought based on faith and love enable us to contemplate tipping points from the unimaginable to the imaginable. The best science is contemplative. And the best responses are just, moderate, prudent, and courageous. We need to learn to respond, and contemplative meditation opens the pathways of the mind.
John Paul Lederach
- Published in print:
- 2005
- Published Online:
- April 2005
- ISBN:
- 9780195174540
- eISBN:
- 9780199835409
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0195174542.003.0010
- Subject:
- Religion, Religion and Society
This chapter discusses a critical but overlooked component of peacebuilding: the craft of watching webs. The web approach suggests that the way out of the pattern of repeated violence goes through ...
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This chapter discusses a critical but overlooked component of peacebuilding: the craft of watching webs. The web approach suggests that the way out of the pattern of repeated violence goes through the web of relational spaces in the context. Finding the relational spaces will mean that the location for sustaining social change in the context can be found. The approach of web watching also suggests that the process of locating webs demands careful attention to how we are in and how we relate to the setting.Less
This chapter discusses a critical but overlooked component of peacebuilding: the craft of watching webs. The web approach suggests that the way out of the pattern of repeated violence goes through the web of relational spaces in the context. Finding the relational spaces will mean that the location for sustaining social change in the context can be found. The approach of web watching also suggests that the process of locating webs demands careful attention to how we are in and how we relate to the setting.
Jez Conolly and David Owain Bates
- Published in print:
- 2015
- Published Online:
- February 2021
- ISBN:
- 9780993238437
- eISBN:
- 9781800341968
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9780993238437.001.0001
- Subject:
- Film, Television and Radio, Film
Released a matter of days after the end of the Second World War and a dozen years ahead of the first full-blooded Hammer Horror, the Ealing Studios horror anthology film Dead of Night featured ...
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Released a matter of days after the end of the Second World War and a dozen years ahead of the first full-blooded Hammer Horror, the Ealing Studios horror anthology film Dead of Night featured contributions from some of the finest directors, writers and technicians ever to work in British film. Since its release it has become ever more widely regarded as a keystone in the architecture of horror cinema, both nationally and internationally, yet for a film that packs such a reputation this is the first time a single book has been dedicated to its analysis. Beginning with a brief plot-precis ‘road map’ in order to aid navigation through the film's stories, there follows a discussion of Dead of Night's individual stories, including its frame tale (‘Linking Narrative’), a consideration of the potency of stillness and the suspension of time as devices for eliciting goose bumps, an appraisal of the film in relation to the very English tradition of the festive ghost story, and an analysis of the British post-war male gender crisis embodied by a number of the film's protagonists. The book includes a selection of rarely seen pre-production designs produced by the film's acclaimed production designer, Michael Relph.Less
Released a matter of days after the end of the Second World War and a dozen years ahead of the first full-blooded Hammer Horror, the Ealing Studios horror anthology film Dead of Night featured contributions from some of the finest directors, writers and technicians ever to work in British film. Since its release it has become ever more widely regarded as a keystone in the architecture of horror cinema, both nationally and internationally, yet for a film that packs such a reputation this is the first time a single book has been dedicated to its analysis. Beginning with a brief plot-precis ‘road map’ in order to aid navigation through the film's stories, there follows a discussion of Dead of Night's individual stories, including its frame tale (‘Linking Narrative’), a consideration of the potency of stillness and the suspension of time as devices for eliciting goose bumps, an appraisal of the film in relation to the very English tradition of the festive ghost story, and an analysis of the British post-war male gender crisis embodied by a number of the film's protagonists. The book includes a selection of rarely seen pre-production designs produced by the film's acclaimed production designer, Michael Relph.
Patricia Appelbaum
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781469623740
- eISBN:
- 9781469624990
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469623740.003.0009
- Subject:
- Religion, Religious Studies
The author conducted a qualitative survey of contemporary Americans about their relationships to St. Francis, asking about memories, knowledge, practices, feelings, and spiritual sensibilities. This ...
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The author conducted a qualitative survey of contemporary Americans about their relationships to St. Francis, asking about memories, knowledge, practices, feelings, and spiritual sensibilities. This chapter reports on the results. The first section is an overview of the collected responses. The second section looks more closely at selected personal stories. The chapter then draws several conclusions from the responses. First, although most people use materials available in the wider culture, they appropriate these materials in creative ways. Second, the use of images shows especially wide variation. Third, for many people, Francis signifies an alternative to the surrounding culture. Notably, an emerging critique of contemporary culture associates Francis with quietude, stillness, and focus. Finally, personal ways of engaging with Francis often replicate traditional spiritual practices.Less
The author conducted a qualitative survey of contemporary Americans about their relationships to St. Francis, asking about memories, knowledge, practices, feelings, and spiritual sensibilities. This chapter reports on the results. The first section is an overview of the collected responses. The second section looks more closely at selected personal stories. The chapter then draws several conclusions from the responses. First, although most people use materials available in the wider culture, they appropriate these materials in creative ways. Second, the use of images shows especially wide variation. Third, for many people, Francis signifies an alternative to the surrounding culture. Notably, an emerging critique of contemporary culture associates Francis with quietude, stillness, and focus. Finally, personal ways of engaging with Francis often replicate traditional spiritual practices.
Colin Podmore
- Published in print:
- 1998
- Published Online:
- October 2011
- ISBN:
- 9780198207252
- eISBN:
- 9780191677588
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198207252.003.0003
- Subject:
- History, British and Irish Modern History, History of Religion
It was in 1738 that the Moravians became involved in English religious life for the first time, and their impact was dramatic. The ensuing two years saw them play a crucial part in the birth and ...
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It was in 1738 that the Moravians became involved in English religious life for the first time, and their impact was dramatic. The ensuing two years saw them play a crucial part in the birth and extension of the English Evangelical Revival. The story of these turbulent years, from John Wesley's ‘conversion’ in 1738 to his withdrawal from the Fetter Lane Society in 1740, has often been told. The Fetter Lane Society was formed when four Moravians arrived in London on February 7, 1738, which opened a new chapter in the history of Moravian dealings with England. The four men were Peter Böhler, Georg Schulius, Friedrich Wenzel Neiβer, and Abraham Ehrenfried Richter. Many have described the Fetter Lane Society as a Church of England society and rejected any Moravian identity. This chapter examines the doctrine of stillness as a novelty introduced into London by them and the Moravian Church's need to decide whether to send a full mission to England to take over the leadership of events, or to refuse to become fully involved.Less
It was in 1738 that the Moravians became involved in English religious life for the first time, and their impact was dramatic. The ensuing two years saw them play a crucial part in the birth and extension of the English Evangelical Revival. The story of these turbulent years, from John Wesley's ‘conversion’ in 1738 to his withdrawal from the Fetter Lane Society in 1740, has often been told. The Fetter Lane Society was formed when four Moravians arrived in London on February 7, 1738, which opened a new chapter in the history of Moravian dealings with England. The four men were Peter Böhler, Georg Schulius, Friedrich Wenzel Neiβer, and Abraham Ehrenfried Richter. Many have described the Fetter Lane Society as a Church of England society and rejected any Moravian identity. This chapter examines the doctrine of stillness as a novelty introduced into London by them and the Moravian Church's need to decide whether to send a full mission to England to take over the leadership of events, or to refuse to become fully involved.
Robert E. Sinkewicz
- Published in print:
- 2003
- Published Online:
- October 2011
- ISBN:
- 9780199259939
- eISBN:
- 9780191698651
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199259939.003.0001
- Subject:
- Religion, Early Christian Studies
This chapter presents an English translation of the ascetic corpus writing of Evagrius of Pontus about the foundations of the monastic life and the practice of stillness. This piece is devoted to a ...
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This chapter presents an English translation of the ascetic corpus writing of Evagrius of Pontus about the foundations of the monastic life and the practice of stillness. This piece is devoted to a discussion of the necessary conditions for the cultivation of stillness and the hazards to be avoided in preserving it. He explains the requirements for achieving and maintaining stillness. These include withdrawing from society to take a solitary life, adoption of a lifestyle free from unnecessary distractions, and the exercise of great caution in human relationships.Less
This chapter presents an English translation of the ascetic corpus writing of Evagrius of Pontus about the foundations of the monastic life and the practice of stillness. This piece is devoted to a discussion of the necessary conditions for the cultivation of stillness and the hazards to be avoided in preserving it. He explains the requirements for achieving and maintaining stillness. These include withdrawing from society to take a solitary life, adoption of a lifestyle free from unnecessary distractions, and the exercise of great caution in human relationships.
John Chryssavgis
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780195390261
- eISBN:
- 9780199932931
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195390261.003.0018
- Subject:
- Religion, Theology
This chapter focuses on the influence of Palestinian monasticism on the Philokalia through the themes of solitude, silence and stillness.
This chapter focuses on the influence of Palestinian monasticism on the Philokalia through the themes of solitude, silence and stillness.
Louise Hornby
- Published in print:
- 2017
- Published Online:
- October 2017
- ISBN:
- 9780190661229
- eISBN:
- 9780190661250
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190661229.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism, Film, Media, and Cultural Studies
Still Modernism offers a critique of the modernist imperative to embrace motion, speed, and mobility. In the context of the rise of kinetic technologies and the invention of motion pictures, the book ...
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Still Modernism offers a critique of the modernist imperative to embrace motion, speed, and mobility. In the context of the rise of kinetic technologies and the invention of motion pictures, the book claims that stillness is nonetheless an essential tactic of modernist innovation. More specifically, the book looks at the ways in which photographic stillness emerges as a counterpoint to motion and to film, asserting its own clear visibility against the blur of kinesis. Combining objects and methods from art history, film studies, and literary studies, Louise Hornby reveals how photographers, filmmakers, and writers, even at their most kinetic, did not surrender attention to points of stillness. Rather, the still image, understood through photography, establishes itself as a mode of resistance and provides a formal response to various modernist efforts to see better, to attend more closely, and to remove the fetters of subjectivity and experience. Hornby argues that still photography allows film to access its own diffuse images of motion; photography’s duplicative form provides a serial structure for modernist efforts to represent the face; its iterative structure articulates the jerky rhythms of experimental narrative as perambulation; and its processes of development allow the world to emerge independent of the human observer. Casting new light on the relationship between photography and film, Hornby situates the struggle between the still and the kinetic at the center of modernist culture.Less
Still Modernism offers a critique of the modernist imperative to embrace motion, speed, and mobility. In the context of the rise of kinetic technologies and the invention of motion pictures, the book claims that stillness is nonetheless an essential tactic of modernist innovation. More specifically, the book looks at the ways in which photographic stillness emerges as a counterpoint to motion and to film, asserting its own clear visibility against the blur of kinesis. Combining objects and methods from art history, film studies, and literary studies, Louise Hornby reveals how photographers, filmmakers, and writers, even at their most kinetic, did not surrender attention to points of stillness. Rather, the still image, understood through photography, establishes itself as a mode of resistance and provides a formal response to various modernist efforts to see better, to attend more closely, and to remove the fetters of subjectivity and experience. Hornby argues that still photography allows film to access its own diffuse images of motion; photography’s duplicative form provides a serial structure for modernist efforts to represent the face; its iterative structure articulates the jerky rhythms of experimental narrative as perambulation; and its processes of development allow the world to emerge independent of the human observer. Casting new light on the relationship between photography and film, Hornby situates the struggle between the still and the kinetic at the center of modernist culture.
Louise Hornby
- Published in print:
- 2017
- Published Online:
- October 2017
- ISBN:
- 9780190661229
- eISBN:
- 9780190661250
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190661229.003.0006
- Subject:
- Literature, 20th-century Literature and Modernism, Film, Media, and Cultural Studies
The conclusion to the book underscores its central preoccupation with stillness’s impossibility, or difficulty. This impossibility or inhuman (objective) aspect of photography has frequently been ...
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The conclusion to the book underscores its central preoccupation with stillness’s impossibility, or difficulty. This impossibility or inhuman (objective) aspect of photography has frequently been used as a means to dismiss the medium in favor of representational strategies that more closely mimic human vision. However, the ability to step out of time and out of selfhood is a critical model for the authors, photographers, and filmmakers discussed in the book, and suggests a means to a new understanding of empathy.Less
The conclusion to the book underscores its central preoccupation with stillness’s impossibility, or difficulty. This impossibility or inhuman (objective) aspect of photography has frequently been used as a means to dismiss the medium in favor of representational strategies that more closely mimic human vision. However, the ability to step out of time and out of selfhood is a critical model for the authors, photographers, and filmmakers discussed in the book, and suggests a means to a new understanding of empathy.
Claudia Tobin
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9781474455138
- eISBN:
- 9781474481212
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474455138.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
The late nineteenth and early twentieth centuries have been characterised as the ‘age of speed’ but they also witnessed a reanimation of still life across different art forms. This book takes an ...
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The late nineteenth and early twentieth centuries have been characterised as the ‘age of speed’ but they also witnessed a reanimation of still life across different art forms. This book takes an original approach to still life in modern literature and the visual arts by examining the potential for movement and transformation in the idea of stillness and the ordinary. It proposes that still life can be understood not only as a genre of visual art but also as a mode of attentiveness and a way of being in the world. It ranges widely in its material, taking Cézanne and literary responses to his still life painting as its point of departure. It investigates constellations of writers, visual artists and dancers including D. H. Lawrence, Virginia Woolf, David Jones, Winifred Nicholson, Wallace Stevens, and lesser-known figures including Charles Mauron and Margaret Morris.
Modernism and Still Life reveals that at the heart of modern art were forms of stillness that were intimately bound up with movement. The still life emerges charged with animation, vibration and rhythm, an unstable medium, unexpectedly vital and well suited to the expression of modern concerns.Less
The late nineteenth and early twentieth centuries have been characterised as the ‘age of speed’ but they also witnessed a reanimation of still life across different art forms. This book takes an original approach to still life in modern literature and the visual arts by examining the potential for movement and transformation in the idea of stillness and the ordinary. It proposes that still life can be understood not only as a genre of visual art but also as a mode of attentiveness and a way of being in the world. It ranges widely in its material, taking Cézanne and literary responses to his still life painting as its point of departure. It investigates constellations of writers, visual artists and dancers including D. H. Lawrence, Virginia Woolf, David Jones, Winifred Nicholson, Wallace Stevens, and lesser-known figures including Charles Mauron and Margaret Morris.
Modernism and Still Life reveals that at the heart of modern art were forms of stillness that were intimately bound up with movement. The still life emerges charged with animation, vibration and rhythm, an unstable medium, unexpectedly vital and well suited to the expression of modern concerns.
Jez Conolly and David Owain Bates
- Published in print:
- 2015
- Published Online:
- February 2021
- ISBN:
- 9780993238437
- eISBN:
- 9781800341968
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9780993238437.003.0004
- Subject:
- Film, Television and Radio, Film
This chapter examines the first of the house guests' stories of Dead of Night, ‘Hearse Driver’, which is also directed by Basil Dearden. The story is recounted by racing driver Hugh Grainger (Anthony ...
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This chapter examines the first of the house guests' stories of Dead of Night, ‘Hearse Driver’, which is also directed by Basil Dearden. The story is recounted by racing driver Hugh Grainger (Anthony Baird) who survives a mid-race crash that leaves him hospitalised with head injuries, in the care of Joyce (Judy Kelly) the dedicated nurse and his future wife. While convalescing, Grainger is witness to a strange temporal shift and a bizarre premonition in the form of a Victorian horse-drawn hearse beneath his nursing home room window. The driver of the hearse (Miles Malleson) delivers perhaps the film's most well-known line: ‘Just room for one inside, sir’. The chapter studies the significance of the bed as a prime vehicle for scares in horror cinema and explores the potency of stillness and the suspension of time as devices for eliciting those goose bumps.Less
This chapter examines the first of the house guests' stories of Dead of Night, ‘Hearse Driver’, which is also directed by Basil Dearden. The story is recounted by racing driver Hugh Grainger (Anthony Baird) who survives a mid-race crash that leaves him hospitalised with head injuries, in the care of Joyce (Judy Kelly) the dedicated nurse and his future wife. While convalescing, Grainger is witness to a strange temporal shift and a bizarre premonition in the form of a Victorian horse-drawn hearse beneath his nursing home room window. The driver of the hearse (Miles Malleson) delivers perhaps the film's most well-known line: ‘Just room for one inside, sir’. The chapter studies the significance of the bed as a prime vehicle for scares in horror cinema and explores the potency of stillness and the suspension of time as devices for eliciting those goose bumps.
Richard Buxton
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199557615
- eISBN:
- 9780191752209
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199557615.003.0006
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval, Ancient Religions
This chapter begins with the portrayal of Medea by Apollonios of Rhodes, concentrating on Medea's oscillations between movement and stillness. In particular, it is when exercising control through ...
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This chapter begins with the portrayal of Medea by Apollonios of Rhodes, concentrating on Medea's oscillations between movement and stillness. In particular, it is when exercising control through magic that she is motionless, whereas her domestically-generated anguish drives her into motion. The argument then widens out to consider, firstly, the stillness/movement polarity in other versions of the Medea myth both in art and in literature, and, secondly, the stillness/movement polarity in Greek culture as a whole.Less
This chapter begins with the portrayal of Medea by Apollonios of Rhodes, concentrating on Medea's oscillations between movement and stillness. In particular, it is when exercising control through magic that she is motionless, whereas her domestically-generated anguish drives her into motion. The argument then widens out to consider, firstly, the stillness/movement polarity in other versions of the Medea myth both in art and in literature, and, secondly, the stillness/movement polarity in Greek culture as a whole.
Susan Jones
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199565320
- eISBN:
- 9780191765995
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199565320.003.0013
- Subject:
- Literature, 20th-century and Contemporary Literature, 20th-century Literature and Modernism
Extending the theme of close relationships between dance and drama, this final chapter turns to Samuel Beckett's experimental drama as an important site for choreographic innovation in the twentieth ...
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Extending the theme of close relationships between dance and drama, this final chapter turns to Samuel Beckett's experimental drama as an important site for choreographic innovation in the twentieth century. The discussion suggests new sources for specific plays, showing that Beckett's understanding of contemporary choreography began with his spectatorship of dance in the 1930s. The chapter identifies two kinds of movement in the plays, one mimetic, and one abstract, and sources or allusions to dance come from the Diaghilev production of Petrouchka and Oskar Schlemmer's Bauhaus Dances. The chapter examines Beckett's philosophical interest in the relationship between human and mechanical movement and self-consciousness, drawing on the discussions of Arnold Geulincx, Heinrich von Keist, and Arthur Schopenhauer. Beckett's choreography places his work in a long European tradition of innovations in drama and dance that continue in the work of European and American choreographers to this day.Less
Extending the theme of close relationships between dance and drama, this final chapter turns to Samuel Beckett's experimental drama as an important site for choreographic innovation in the twentieth century. The discussion suggests new sources for specific plays, showing that Beckett's understanding of contemporary choreography began with his spectatorship of dance in the 1930s. The chapter identifies two kinds of movement in the plays, one mimetic, and one abstract, and sources or allusions to dance come from the Diaghilev production of Petrouchka and Oskar Schlemmer's Bauhaus Dances. The chapter examines Beckett's philosophical interest in the relationship between human and mechanical movement and self-consciousness, drawing on the discussions of Arnold Geulincx, Heinrich von Keist, and Arthur Schopenhauer. Beckett's choreography places his work in a long European tradition of innovations in drama and dance that continue in the work of European and American choreographers to this day.
Yoon Sook Cha
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780823275250
- eISBN:
- 9780823277087
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823275250.003.0004
- Subject:
- Philosophy, Moral Philosophy
This chapter, a reading of Venise sauvée, considers Jaffier’s decision to spare Venice from destruction. This apparently negative action upsets the notion of wielding power as an inevitable outcome ...
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This chapter, a reading of Venise sauvée, considers Jaffier’s decision to spare Venice from destruction. This apparently negative action upsets the notion of wielding power as an inevitable outcome of force. To act without power, it is argued, disrupts the mechanics of the transmission of violence that submits the weaker to the stronger, as well as the self-perpetuation of force that ensures its continued transmission. It begs us to consider the particular claim that helplessness and vulnerability have – exactly the claim that Venice, in its open defenselessness, has upon Jaffier. The bond of love Jaffier feels for Venice which surpasses linguistic capture nonetheless produces an urgency to express it. The negative use of power seems to be inextricably tied to a certain stillness of speech, at once pressing “the silent thing that must be expressed,” as Weil puts it, and preserving its essential silence.Less
This chapter, a reading of Venise sauvée, considers Jaffier’s decision to spare Venice from destruction. This apparently negative action upsets the notion of wielding power as an inevitable outcome of force. To act without power, it is argued, disrupts the mechanics of the transmission of violence that submits the weaker to the stronger, as well as the self-perpetuation of force that ensures its continued transmission. It begs us to consider the particular claim that helplessness and vulnerability have – exactly the claim that Venice, in its open defenselessness, has upon Jaffier. The bond of love Jaffier feels for Venice which surpasses linguistic capture nonetheless produces an urgency to express it. The negative use of power seems to be inextricably tied to a certain stillness of speech, at once pressing “the silent thing that must be expressed,” as Weil puts it, and preserving its essential silence.
Tamar Katz
- Published in print:
- 2010
- Published Online:
- January 2016
- ISBN:
- 9780984259830
- eISBN:
- 9781781382226
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780984259830.003.0001
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter evokes recent critical interest in space and mobility in Woolf's London and it reminds us that temporality and stillness are crucial aspects of Woolf's city. Focusing on a slightly ...
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This chapter evokes recent critical interest in space and mobility in Woolf's London and it reminds us that temporality and stillness are crucial aspects of Woolf's city. Focusing on a slightly different aspect of Woolf's city, the chapter then attempts to recast the relation of spatial and temporal structures, and—drawing on Ben Highmore's suggestion that studies of urban life engage in what he terms, citing Henri Lefebvre, “rhythmanalysis”—thinks about how urban life in Woolf has a characteristic time and rhythm and why this might matter. In particular, the chapter talks about how characters pause, wait, stop, and start, in Mrs. Dalloway (1925) and about the revisions of this rhythm later in The Years (1937); for pausing and waiting, related practices in the novels, are acts of suspension in both time and place.Less
This chapter evokes recent critical interest in space and mobility in Woolf's London and it reminds us that temporality and stillness are crucial aspects of Woolf's city. Focusing on a slightly different aspect of Woolf's city, the chapter then attempts to recast the relation of spatial and temporal structures, and—drawing on Ben Highmore's suggestion that studies of urban life engage in what he terms, citing Henri Lefebvre, “rhythmanalysis”—thinks about how urban life in Woolf has a characteristic time and rhythm and why this might matter. In particular, the chapter talks about how characters pause, wait, stop, and start, in Mrs. Dalloway (1925) and about the revisions of this rhythm later in The Years (1937); for pausing and waiting, related practices in the novels, are acts of suspension in both time and place.
Peter Kraftl
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9781447300496
- eISBN:
- 9781447310914
- Item type:
- chapter
- Publisher:
- Policy Press
- DOI:
- 10.1332/policypress/9781447300496.003.0006
- Subject:
- Sociology, Education
Building on chapter 5, this chapter examines a distinct set of ways in which alternative learning spaces may be enlivened: in the movement of human bodies within and between learning spaces. Many ...
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Building on chapter 5, this chapter examines a distinct set of ways in which alternative learning spaces may be enlivened: in the movement of human bodies within and between learning spaces. Many alternative educators argue that children in their learning spaces should cultivate different kinds of bodily movements from learners in mainstream schools. These diverse movements include combination, movement-between places, stillness, walking, repetition and gradual withdrawal. Thereafter, the chapter demonstrates how some educators are engaged in the production of particular learning habits, which flow from those bodily movements. The work of Félix Ravaisson on habit is developed to explore how habits are channelled and worked-out in interpersonal relations in alternative learning spaces. In so doing, this chapter provides a key bridging point to the book's remaining chapters. It also contributes to recent theorisations of mobility and habit in the social sciences.Less
Building on chapter 5, this chapter examines a distinct set of ways in which alternative learning spaces may be enlivened: in the movement of human bodies within and between learning spaces. Many alternative educators argue that children in their learning spaces should cultivate different kinds of bodily movements from learners in mainstream schools. These diverse movements include combination, movement-between places, stillness, walking, repetition and gradual withdrawal. Thereafter, the chapter demonstrates how some educators are engaged in the production of particular learning habits, which flow from those bodily movements. The work of Félix Ravaisson on habit is developed to explore how habits are channelled and worked-out in interpersonal relations in alternative learning spaces. In so doing, this chapter provides a key bridging point to the book's remaining chapters. It also contributes to recent theorisations of mobility and habit in the social sciences.
Song Hwee Lim
- Published in print:
- 2014
- Published Online:
- November 2016
- ISBN:
- 9780824836849
- eISBN:
- 9780824869694
- Item type:
- chapter
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824836849.003.0004
- Subject:
- Society and Culture, Asian Studies
This chapter explores the notion of slowness in cinema through the staging of stillness in the films of Tsai Ming-liang. It first discusses the meaning of stillness in “motion pictures” or “moving ...
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This chapter explores the notion of slowness in cinema through the staging of stillness in the films of Tsai Ming-liang. It first discusses the meaning of stillness in “motion pictures” or “moving images.” It then delineates how a cinema of stillness is a conscious stylistic choice by filmmakers who eschew dramatic tendencies, narrative impulses, and spectacular effects. The main body of the chapter analyzes two aspects of stillness: stillness of the camera and stillness of diegetic action. It examines three films with the longest average shot lengths (ASLs) and the least camera movement in Tsai's oeuvre: What Time, which averages 65.09 seconds per shot and contains not a single shot with camera movement; I Don't Want to Sleep Alone, which averages 70.92 seconds per shot and has only five shots (or 5.2 percent of the 97 shots in total) with camera movement; and Visage, which averages 90.11 seconds per shot and contains nine shots (or 10.3 percent of the 87 shots in total) with camera movement. It is argued that the strategies of camera stillness and narrative emptiness allow ample time to instill a sense of slowness and to create moments of nothing happening, during which our minds can contemplate as well as drift.Less
This chapter explores the notion of slowness in cinema through the staging of stillness in the films of Tsai Ming-liang. It first discusses the meaning of stillness in “motion pictures” or “moving images.” It then delineates how a cinema of stillness is a conscious stylistic choice by filmmakers who eschew dramatic tendencies, narrative impulses, and spectacular effects. The main body of the chapter analyzes two aspects of stillness: stillness of the camera and stillness of diegetic action. It examines three films with the longest average shot lengths (ASLs) and the least camera movement in Tsai's oeuvre: What Time, which averages 65.09 seconds per shot and contains not a single shot with camera movement; I Don't Want to Sleep Alone, which averages 70.92 seconds per shot and has only five shots (or 5.2 percent of the 97 shots in total) with camera movement; and Visage, which averages 90.11 seconds per shot and contains nine shots (or 10.3 percent of the 87 shots in total) with camera movement. It is argued that the strategies of camera stillness and narrative emptiness allow ample time to instill a sense of slowness and to create moments of nothing happening, during which our minds can contemplate as well as drift.
Carol Harrison
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199641437
- eISBN:
- 9780191755651
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199641437.003.0011
- Subject:
- Religion, Early Christian Studies, Theology
This chapter examines the odd case of Christian prayer and asks just who the speaker and who the listener are in the practice of prayer. It is based on a number of early Christian treatises on ...
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This chapter examines the odd case of Christian prayer and asks just who the speaker and who the listener are in the practice of prayer. It is based on a number of early Christian treatises on prayer, especially those on the Lord's Prayer, and attempts to demonstrate that, in fact, the one who actually listens in prayer, and is thereby transformed by it, is the believer, who is inspired to respond to God's address to them in his Word. True prayer is thus shown to be a matter of listening to God and of responding to His presence and revelation, rather than an address to Him. The chapter argues that this is an attitude characteristic of true hearing, which, by attending to God, is transformed by Him.Less
This chapter examines the odd case of Christian prayer and asks just who the speaker and who the listener are in the practice of prayer. It is based on a number of early Christian treatises on prayer, especially those on the Lord's Prayer, and attempts to demonstrate that, in fact, the one who actually listens in prayer, and is thereby transformed by it, is the believer, who is inspired to respond to God's address to them in his Word. True prayer is thus shown to be a matter of listening to God and of responding to His presence and revelation, rather than an address to Him. The chapter argues that this is an attitude characteristic of true hearing, which, by attending to God, is transformed by Him.
Gillian Knoll
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781474428521
- eISBN:
- 9781474481175
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474428521.003.0002
- Subject:
- Literature, Shakespeare Studies
By consistently refusing to subordinate eros to other actions that characters might undertake in its name, John Lyly confirms that desire itself can be the main event of a play. Chapter 1 explores ...
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By consistently refusing to subordinate eros to other actions that characters might undertake in its name, John Lyly confirms that desire itself can be the main event of a play. Chapter 1 explores the role of potentiality, what Aristotle calls dunamis, as both the source of erotic change and its medium in John Lyly’s plays. The chapter begins by surveying metaphors of motion and stillness that dramatize subtle erotic changes in Lyly’s plays, and then focuses on idleness, an experience his characters conceive less as physical stasis than as movement without purpose or telos. Idleness has a peculiar, counterintuitive, feel to it in Galatea, a play that explores alternatives to the fast-paced, teleological movement typically associated with sexual pursuit. Galatea, Phillida, and the nymphs who fall in love with them discover the queer erotic potential of circuitous language that prolongs desire and defers closure.Less
By consistently refusing to subordinate eros to other actions that characters might undertake in its name, John Lyly confirms that desire itself can be the main event of a play. Chapter 1 explores the role of potentiality, what Aristotle calls dunamis, as both the source of erotic change and its medium in John Lyly’s plays. The chapter begins by surveying metaphors of motion and stillness that dramatize subtle erotic changes in Lyly’s plays, and then focuses on idleness, an experience his characters conceive less as physical stasis than as movement without purpose or telos. Idleness has a peculiar, counterintuitive, feel to it in Galatea, a play that explores alternatives to the fast-paced, teleological movement typically associated with sexual pursuit. Galatea, Phillida, and the nymphs who fall in love with them discover the queer erotic potential of circuitous language that prolongs desire and defers closure.
Louise Hornby
- Published in print:
- 2017
- Published Online:
- October 2017
- ISBN:
- 9780190661229
- eISBN:
- 9780190661250
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190661229.003.0001
- Subject:
- Literature, 20th-century Literature and Modernism, Film, Media, and Cultural Studies
The introduction provides an overview of the book and sets out the photographic stakes of stillness in the historical context of the early twentieth century and the invention of motion pictures. ...
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The introduction provides an overview of the book and sets out the photographic stakes of stillness in the historical context of the early twentieth century and the invention of motion pictures. These two technologies—photography and motion pictures—provide the ground for reframing the modernist debate around stasis-kinesis, which has typically played out unevenly on the side of discourses of speed and acceleration, focusing on the creation and impact of ever newer and ever faster technologies of motion, such as the railway, the motor car, the modern assembly line, and motion pictures. However, stillness remains an obdurate stopping point and necessary critical intervention in such kinetic economies. Charting the book’s interdisciplinary terrain, the introduction brings art history and film studies to bear upon each other to determine the critical purchase of stillness, how it accrued a negative meaning, and how modernist writers, filmmakers, and artists negotiated its limits.Less
The introduction provides an overview of the book and sets out the photographic stakes of stillness in the historical context of the early twentieth century and the invention of motion pictures. These two technologies—photography and motion pictures—provide the ground for reframing the modernist debate around stasis-kinesis, which has typically played out unevenly on the side of discourses of speed and acceleration, focusing on the creation and impact of ever newer and ever faster technologies of motion, such as the railway, the motor car, the modern assembly line, and motion pictures. However, stillness remains an obdurate stopping point and necessary critical intervention in such kinetic economies. Charting the book’s interdisciplinary terrain, the introduction brings art history and film studies to bear upon each other to determine the critical purchase of stillness, how it accrued a negative meaning, and how modernist writers, filmmakers, and artists negotiated its limits.