Academic literature on the topic 'Benjamin Warner'

AbstractIn“To Renew the Covenant”: Religious Themes in Eighteenth-Century Quaker Abolitionism, Jon R. Kershner argues that Quakers adhered to a providential view of history, which motivated their desire to take a corporate position against slavery. Antislavery Quakers believed God’s dealings with them, for good or ill, were contingent on their faithfulness. Their history of deliverance from persecution, the liberty of conscience they experienced in the British colonies, and the ethics of the Golden Rule formed a covenantal relationship with God that challenged notions of human bondage. Kershner traces the history of abolitionist theologies from George Fox and William Edmundson in the late seventeenth century to Paul Cuffe and Benjamin Banneker in the early nineteenth century. It covers the Germantown Protest, Benjamin Lay, John Woolman, Anthony Benezet, William Dillwyn, Warner Mifflin, and others who offered religious arguments against slavery. It also surveys recent developments in Quaker antislavery studies.

A Teoria dos Multiletramentos enfatiza que a sofisticação das mídias potencializa a variedade de recursos audiovisuais como discurso próprio da contemporaneidade. Em termos educacionais, a multimodalidade amplia o acesso do aluno a significados e, destaca a hibridização das linguagens na composição de textos. O objetivo deste artigo é apresentar os resultados de um projeto de extensão sobre os multiletramentos, com ênfase no uso pedagógico do videoclipe musical. Os resultados do projeto, realizado em uma universidade pública no Brasil indicaram; a necessidade de o professor definir critérios para a seleção de videoclipe musical, a definição de objetivos para o uso do videoclipe, a articulação do videoclipe a conteúdos para aprendizagem em Língua Inglesa. Em linhas gerais, concluímos a relevância do papel das narrativas audiovisuais na formação de leitores críticos e, sobretudo, na aprendizagem de Língua Inglesa.Recebido em: 16-12-2019Revisões requeridas em: 02-03-2020Aceito em: 13-03-2020REFERÊNCIAS:BAGULEY, Margaret; PULLEN, Darren L.; SHORT, Megan. Multiliteracies and the new world order. In: PULLEN, D.L.; COLE, D.R. Multiliteracies and technology enhanced education: social practice and the global classroom. Hershey: IGI Global, 2010. p. 01-17.BALADELI, Ana P.D. Cibercultura e ensino de línguas: um olhar sobre a Teoria dos Multiletramentos. In: COSTA, N. V. S. (org.). A Língua Inglesa e seus desdobramentos na ciência. Bonecker, 2019. p. 11-28.BARBOSA, Vânia S.; ARAÚJO, Antonia D. Multimodalidade e letramento visual: um estudo piloto de atividades de leitura disponíveis em sítio eletrônico. Revista da ANPOLL, Florianópolis, n.37, jul./dez.2014, p.17-36. Disponível em: https://revistadaanpoll.emnuvens.com.br/revista/article/view/824 acesso em 04 dez. 2019.BERK, Ronald A. Multimedia teaching with video clips: TV, Movies, YouTube, and motive in the college classroom. International Journal of Technology in Teaching and Learning, v. 5, n.1, 2009, p. 1-21.BOCHE, Benjamin. Multiliteracies in the classroom: emerging conceptions of first-year teachers. Journal of Language and Literacy Education, v.10, n.1, 2014.BRASIL. Base Nacional Comum Curricular: Ensino Médio. Brasília: MEC/Secretaria de Educação Básica, 2018.BULL, Geoff; ANSTEY, Michele. Elaborating multiliteracies through multimodal texts.London,New York: Routledge, 2019.COPE, Bill; KALANTZIS, Mary. A pedagogy of multiliteracies, learning by design.New York. Palgrave Macmilan, 2015.KRESS, Gunther; VAN LEEUWEN, Theo. Reading images. 2nd.London: Routledge, 2006.MARCHETTI, Lorena; CULLEN, Peter. A multimodal approach in the classroom for creative learning and teaching. Psychological and creative approaches, v.5, n.1, p. 39-51, 2016.McCLAIN, Jordan M. A framework for using popular music videos to teach media literacy. Dialogue: The interdisciplinary Journal of Popular Culture and Pedagogy, v.3, n.1, p.38-46, 2016. Disponível em: http://journaldialogue.org/issues/a-framework-for-using-popular-music-videos-to-teach-media-literacy/ acesso em 03 out. 2019.NEW LONDON GROUP. A pedagogy of multiliteracies: Designing social futures. Harvard Educational Review; 66, 1, Spring, 1996.NICOLESCU, Barasab. Um novo tipo de conhecimento: transdisciplinaridade. In: NICOLESCU, B. et al (org.). Educação e transdisciplinaridade. Brasília: UNESCO, 2000. p. 13-29.ROJO, Roxane; MOURA, Eduardo (orgs.). Multiletramentos na escola. São Paulo: Parábola, 2012.SERAFINI, Frank. Reading multimodal texts: perceptual, structural and ideological perspectives. Children’s Literature in Education, v. 42, 2010, p. 85-104.SERAFINI, Frank. Expanding perspectives for comprehending visual images in multimodal texts. Journal Adolescent and Adult Literacy, v. 54, n.5, p. 342-350, 2011.STREET, Brian V. Eventos de letramento e práticas de letramento: teoria e prática nos novos estudos do letramento. In: MAGALHÃES, I. (org.). Discursos e práticas de letramento. Campinas, SP: Mercado de Letras, 2012. p. 69-92.WARNER, Chantelle; DUPUY, Beatrice. Moving toward multiliteracies in foreign language teaching: past and present perspectives... and beyond. Foreign Language Annals, v. 51, 2017, p. 116-128. Disponível em: https://onlinelibrary.wiley.com/doi/full/10.1111/flan.12316 acesso em 15 nov. 2019.

In June 1944, a delegation of African-American leaders met with New York City school officials to discuss a central focus of black concern: history textbooks. That delegation reflected a broad spectrum of metropolitan Black opinion: Chaired by the radical city councilman Benjamin J. Davis, it included the publisher of theAmsterdam News—New York's major Black newspaper—as well as the bishop of the African Orthodox Church. In a joint statement, the delegates praised public schools' recent efforts to promote “intercultural education”—and to reduce “prejudice”—via drama, music, and art. Yet if history texts continued to spread lies about the past, Blacks insisted, all of these other programs would come to naught. One book described slaves as “happy”; another applauded the Ku Klux Klan for keeping “foolish Negroes” out of government. “Such passages… could well have come from the mouths of the fascist enemies of our nation,” the Black delegation warned. Even as America fought “Nazi doctrine” overseas, African Americans maintained, the country needed to purge this philosophy from history books at home.

-Hy Van Luong, John R. Rickford, Dimensions of a Creole continuum: history, texts, and linguistic analysis of Guyanese Creole. Palo Alto: Stanford University Press, 1987. xix + 340 pp.-John Stewart, Charles V. Carnegie, Afro-Caribbean villages in historical perspective. Jamaica: African-Caribbean Institute of Jamaica, 1987. x + 133 pp.-David T. Edwards, Jean Besson ,Land and development in the Caribbean. London: Macmillan Caribbean, 1987. xi + 228 pp., Janet Momsen (eds)-David T. Edwards, John Brierley ,Small farming and peasant resources in the Caribbean. Winnipeg, Canada: University of Manitoba, 1988. xvii + 133., Hymie Rubenstein (eds)-Diane J. Austin-Broos, Anthony J. Payne, Politics in Jamaica. London and New York: C. Hurst and Company, St. Martin's Press, 1988. xii + 196 pp.-Carol Yawney, Anita M. Waters, Race, class, and political symbols: rastafari and reggae in Jamaican politics. New Brunswick, New Jersey: Transaction Books, 1985. ix + 343 pp.-Judith Stein, Rupert Lewis ,Garvey: Africa, Europe, the Americas. Jamaica: Institute of Social and Economic Research, 1986. xi + 208 pp., Maureen Warner-Lewis (eds)-Robert L. Harris, Jr., Sterling Stuckey, Slave culture: nationalist theory and the foundations of Black America. New York: Oxford University Press, 1987. vii + 425 pp.-Thomas J. Spinner, Jr, Chaitram Singh, Guyana: politics in a plantation society. New York: Praeger Publishers, 1988. xiv + 156 pp.-T. Fiehrer, Paul Buhle, C.L.R. James: The artist as revolutionary. New York & London: Verso, 1988. 197 pp.-Paul Buhle, Khafra Kambon, For bread, justice and freedom: a political biography of George Weekes. London: New Beacon Books, 1988. xi + 353 pp.-Robin Derby, Richard Turits, Bernardo Vega, Trujillo y Haiti. Vol. 1 (1930-1937). Santo Domingo, Dominican Republic: Fundación Cultural Dominicana, 1988. 464 pp.-James W. Wessman, Jan Knippers Black, The Dominican Republic: politics and development in an unsovereign state. Boston, London and Sidney: Allen & Unwin, 1986. xi + 164 pp.-Gary Brana-Shute, Alma H. Young ,Militarization in the non-Hispanic Caribbean. Boulder, Colorado: Lynne Rienner Publishers, Inc., 1986. ix + 178 pp., Dion E. Phillips (eds)-Genevieve J. Escure, Mark Sebba, The syntax of serial verbs: an investigation into serialisation in Sranan and other languages. Amsterdam and Philadelphia: John Benjamins Publishing Company, Creole Language Library = vol. 2, 1987. xii + 228 pp.-Dennis Conway, Elizabeth McClean Petras, Jamican labor migration: white capital and black labor, 1850-1930. Boulder and London: Westview Press, 1988. x + 297 pp.

-Alan L. Karras, Lauren A. Benton, Law and colonial cultures: Legal regimes in world history, 1400-1900. Cambridge: Cambridge University Press, 2002. xiii + 285 pp.-Sidney W. Mintz, Douglass Sullivan-González ,The South and the Caribbean. Jackson: University Press of Mississippi, 2001. xii + 208 pp., Charles Reagan Wilson (eds)-John Collins, Peter Redfield, Space in the tropics: From convicts to rockets in French Guiana. Berkeley: University of California Press, 2000. xiii + 345 pp.-Vincent Brown, Keith Q. Warner, On location: Cinema and film in the Anglophone Caribbean. Oxford: Macmillan, 2000. xii + 194 pp.-Ann Marie Stock, Jacqueline Barnitz, Twentieth-century art of Latin America. Austin: University of Texas Press, 2001. 416 pp.-Ineke Phaf, J.J. Oversteegen, Herscheppingen: De wereld van José Maria Capricorne. Emmastad, Curacao: Uitgeverij ICS Nederland/Curacao, 1999. 168 pp.-Halbert Barton, Frances R. Aparicio, Listening to Salsa: Gender, latin popular music, and Puerto Rican cultures. Hanover NH: Wesleyan University Press, 1998. xxi + 290 pp.-Pedro Pérez Sarduy, John M. Kirk ,Culture and the Cuban revolution: Conversations in Havana. Gainesville: University Press of Florida, 2001. xxvi + 188 pp., Leonardo Padura Fuentes (eds)-Luis Martínez-Fernández, Damián J. Fernández, Cuba and the politics of passion. Austin: University of Texas Press, 2000. 192 pp.-Eli Bartra, María de Los Reyes Castillo Bueno, Reyita: The life of a black Cuban woman in the twentieth century. Durham NC: Duke University Press, 2000. 182 pp.-María del Carmen Baerga, Felix V. Matos Rodríguez, Women and urban change in San Juan, Puerto Rico, 1820-1868. Gainesville: University Press of Florida, 1999. xii + 180 pp. [Reissued in 2001 as: Women in San Juan, 1820-1868. Princeton NJ: Markus Weiner Publishers.]-Kevin A. Yelvington, Winston James, Holding aloft the banner of Ethiopa: Caribbean radicalism in early twentieth-century America. New York: Verso, 1998. x + 406 pp.-Jerome Teelucksingh, O. Nigel Bolland, The politics of labour in the British Caribbean: The social origins of authoritarianism and democracy in the labour movement. Kingston: Ian Randle; Princeton NJ: Marcus Weiner, 2001. xxii + 720 pp.-Jay R. Mandle, Randolph B. Persaud, Counter-Hegemony and foreign policy: The dialectics of marginalized and global forces in Jamaica. Albany: State University of New York Press, 2001. xviii + 248 pp.-Patrick Bellegarde-Smith, Mary A. Renda, Taking Haiti: Military occupation and the culture of U.S. imperialism, 1915-1940. Chapel Hill: University of North Carolina Press, 2001. xvi + 414 pp.-James W. St. G. Walker, Maureen G. Elgersman, Unyielding spirits: Black women and slavery in early Canada and Jamaica. New York: Garland, 1999. xvii + 188 pp.-Madhavi Kale, David Hollett, Passage from India to El Dorado: Guyana and the great migration. Madison NJ: Fairleigh Dickinson University Press, 1999. 325 pp.-Karen S. Dhanda, Linda Peake ,Gender, ethnicity and place: Women and identities in Guyana. London: Routledge, 1999. xii + 228 pp., D. Alissa Trotz (eds)-Karen S. Dhanda, Moses Nagamootoo, Hendree's cure: Scenes from Madrasi life in a new world. Leeds, UK: Peepal Tree, 2000. 149 pp.-Stephen D. Glazier, Hemchand Gossai ,Religion, culture, and tradition in the Caribbean., Nathaniel Samuel Murrell (eds)-Michiel van Kempen, A. James Arnold, A history of literature in the Caribbean. Volume 2: English- and Dutch- speaking regions. (Vera M. Kuzinski & Ineke Phaf-Rheinberger, sub-eds.).Amsterdam/Philadelphia: John Benjamins, 2001. ix + 672 pp.-Frank Birbalsingh, Bruce King, Derek Walcott: A Caribbean life. New York: Oxford University Press, 2000. ix + 714 pp.-Frank Birbalsingh, Paula Burnett, Derek Walcott: Politics and poetics. Gainesville: University Press of Florida, 2001. xiii + 380 pp.-Jeanne Garane, Micheline Rice-Maximin, Karukéra: Présence littéraire de la Guadeloupe. New York: Peter Lang, 1998. x + 197 pp.-Jeanne Garane, Marie-Christine Rochmann, L'esclave fugitif dans la littérature antillaise: Sur la déclive du morne. Paris: Karthala, 2000. 408 pp.-Alasdair Pettinger, Lizabeth Paravisini-Gebert ,Women at sea: Travel writing and the margins of Caribbean discourse. New York: Palgrave, 2001. x + 301 pp., Ivette Romero-Cesareo (eds)

Introduction While Free Software Foundation founder Richard Stallman argues that Free Software is not Open Source, he is only half right—or only speaking about the question of motivation (the half that matters to him). The definition of Open Source, as enshrined in the Open Source Definition (OSD) is a nearly verbatim copy of the Debian Free Software Guidelines (DFSG). Both the OSD and DFSG are practical articulations of Stallman’s Free Software Definition (FSD). Open Source, with a different political and philosophical basis, can only exist because the FSD is broad enough to allow for its translation into other terms yet defined enough to allow for a directed and robust social movement. As much as Stallman might want to deemphasize Open Source, he would never change the broadly defined definition of freedom that made its existence possible. This level of translatability within the domain of Free and Opens Source Software (FOSS) is echoed in the accessibly of its philosophies and technologies to groups from across the political spectrum. Recalibrating the broad meaning of freedom outlined in the FSD to align with their own philosophies and politics, these groups perceive FOSS as a model of openness and collaboration particularly well suited to meet their own goals. In this process of re-adoption and translation, FOSS has become the corporate poster child for capitalist technology giants like IBM, the technological and philosophical weapon of anti-corporate activists, and a practical template for a nascent movement to create an intellectual “Commons” to balance the power of capital. In these cases and others, FOSS’s broadly defined philosophy—given legal form in licenses—has acted as a pivotal point of inspiration for a diverse (and contradictory) set of alternative intellectual property instruments now available for other forms of creative work. Iconic Tactics As a site of technological practice, FOSS is not unique in its ability to take multiple lives and meanings. For example, Gyan Prakash (1999) in Another Reason_ _describes the way that many of the principles and practices of early twentieth century techno-science were translated, in ways similar to FOSS, during India’s colonial era. British colonizers who built bridges, trains, and hospitals pointed to their technological prowess as both a symbol of a superior scientific rationality and justification for their undemocratic presence in the subcontinent. Prakash describes the way that a cadre of Indian nationalists re-visioned the practice and philosophical approach to techno-science to justify and direct their anti-colonial national liberation movement. Techno-science, which was an instrument for colonialism and an icon for idea of progress, was nonetheless re-valued and redirected toward “another reason,” thus acting as a “tactic” productive of other social and political practices. We call this dynamic iconic tactic. FOSS has been deployed as an iconic tactic in a wide range of projects. FOSS philosophy simply states that it is the right of every user to use, modify, and distribute computer software for any purpose. The right to use, distribute, modify and redistribute derivative versions, the so called “four freedoms,” are based in and representative of an extreme form of anti-discrimination resistant to categorization into the typical “left, center and right” tripartite political schema. This element of non-discrimination, coupled with the broad nature of FOSS’s philosophical foundation, enables the easy adoption of FOSS technologies and facilitates its translatability. FOSS’s broadly defined freedom acts as an important starting point and one conceptual hinge useful in understanding the promiscuous circulation of FOSS as a set of technologies, signs, methodologies and philosophies. Also helpful is an analysis of the way in which this philosophical and legal form is animated and redirected in historically particular, and at times divergent, ways through the use of FOSS technologies and licensing schemes. It is to three contrasting examples of such transmutations that we now turn to. Translation in FOSS With over USD 81 billion in yearly revenue deriving in no small part from the companies vast patent and copyright holdings, IBM is an example of global capitalism whose bedrock is intellectual property. With a development methodology that IBM recognizes as more agile and profitable than proprietary models in many situations, IBM was quick to embrace FOSS. Hiring a cadre of FOSS developers to work in-house on FOSS software, IBM launched the first nationwide advertising campaign promoting the FOSS operating system GNU/Linux. In their first campaign, they highlighted the ideas of openness and freedom in ways that, unsurprisingly, reinforced their corporate goals. Featuring the recognizable Linux mascot Tux the penguin and a message of “Peace, Love, and Linux,” IBM connected using and buying FOSS-based enterprise solutions with 1960’s counter-cultural ideals of sharing, empowerment, and openness. IBM’s engagement with FOSS is representative of a much larger corporate movement to translate FOSS principles into a neoliberal language of market agility, consumer choice, and an “improved bottom line.” While their position, as the recent SCO and IBM court cases over Linux have demonstrated, is not uniformly shared in the corporate world, IBM is a highly visible example of a larger corporate push toward Free Software as the basis of a service-based business model. While the money behind IBM’s advertising machine makes their take on FOSS particularly visible, they hold no monopoly on the interpretation of FOSS’s meaning and importance. This is evidenced by the extensive use of FOSS as an iconic tactic by leftist activists around the world. Also bearing a three letter acronym, the Independent Media Centers (IMC) are a socio-political project whose mission and spirit are completely contrary to the goals of a large corporation like IBM. Indymedia is a worldwide collective of loosely affiliated grassroots online media websites and non-virtual spaces that allow activists to directly make, move, and “become” the media. IMCs are an important and integrated part of the anti-corporate and counter-globalization movement. In their work, IMC activists have aligned FOSS philosophy with their goals and visions for openness, media-reform, and large-scale socio-political justice. Like IBM, IMCs use existing FOSS software and create their own tools. IMC software, is, by charter, FOSS. As a volunteer organization with limited economic resources, FOSS has been crucial in its technology-heavy operations. Beyond use for pragmatic reasons, there is widespread support and admiration for FOSS, which is often identified as a revolutionary example of mutual aid, structural openness and the power of collaboration. The following quotes from the IMC’s online-meeting where the decision to formally adopt FOSS was made exemplify activist’s understandings of how FOSS can be used as a tool to further their political aspirations. xxxx: I assume it is safe to say that we are making this choice in order to try to choose the thing which has the least chance of benefiting any corporation, or any other form of hoarding in any way xxxx: There is a wonderful pool of very well-developed free software out there. Earlier, someone said that IMC is a revolutionary project, and free software is a revolutionary tool for it. I stan[d] very firmly behind using free software first These activists—and others in the IMC and anti-corporate, anti-capitalist, and counter-globalization movements—find inspiration in FOSS as proof of the possibility of successful alternatives to capitalist forms of production. In recent years, a political position—with a centrist political philosophy distinct from both capitalists like IBM and anti-capitalists like the IMC—has emerged with FOSS as its primary point of philosophical justification. This group is constituted by a growing number of North American and European scholars who have employed the metaphor of a “Commons” to argue for legally protected resources and knowledge for common use by all. The commons endeavor is one example of a larger “liberal” critique of the neoliberal face of “socially destructive unfettered capitalism” which is seen as a threat to democracy (Soros 2001). The information commons movement, largely spearheaded by Lawrence Lessig (1999; 2001; Creative Commons) and David Bollier (2002; Public Knowledge), explicitly points to FOSS as its inspiration. Within the Commons movement, FOSS has been tactically held up as proof that Commons are achievable and as a model of the process through which they can be created; the Creative Commons organization, a key institution within the Commons movement, has adopted FOSS-style licensing to foster and protect other other kinds of non-technical knowledge. Conclusion These three cases, which don’t exhaust the examples of translation, demonstrate how FOSS functions as an iconic tactic for a range of projects, which is not the simple result of the lexical ambiguity of the words free or open. The ability of FOSS to act as an “engine of translation” is one of the most compelling political aspects of FOSS and an important starting point in the assessment of the variable ways in which FOSS has been used as a set of technologies and an icon for openness—one we feel is often overlooked or obscured in popular and scholarly accounts on the broader implications of FOSS. The terms openness and freedom are often the key categories by which advocates, activists, journalists, and scholars approach the social and political implications of FOSS. While some accounts attribute a type of radical political intention to the domain of FOSS, others critique FOSS as indicative of late-capitalism’s drive to create and exploit free labor (Terranova 2000). Some problematically collapse the efforts of Lessig and Creative Commons with those of FOSS (Boyton 2004) obscuring some of the important differences between the goals and licenses of the groups. Certainly, the way in which FOSS is translated also shifts the ways that FOSS developers understand their own actions and motivations. However, commentators often interpret isolated cases of this process of inspiration, adoption, and re-valuation as indicative of the whole. In this early stage of research into FOSS, it behooves us to be wary of wholesale pronouncements on the social, political, and economic nature of FOSS. We should instead remain mindful of the range of socio-historical processes by which FOSS has enabled a diversity of ideas and practices of opennesses. We should be open to the idea that an analysis of the interplay between FOSS philosophy and practices as it travels through multiple social, economic and political terrains may reveal more than (first) meets the eye. About the Authors Biella Coleman is a cultural anthropologist from the University of Chicago currently writing her dissertation on the ethical dynamics and political implications of the Free and Open Source movement. She spent nearly three years doing research on the Debian project and studying hacker and technology activism in the Bay Area. Her next project draws from this research to investigate the use of expressive and human rights among psychiatric survivors as a political vector to make claims against forced treatment and to halt the global exportation of an American model of psychiatry. email: egcolema@uchicago.edu and biella@healthhacker.org Benjamin "Mako" Hill is a Free and Open Source Software developer and advocate. He is a director of Software in the Public Interest and a member of the Debian project—by most accounts the single largest Free Software project. In addition to volunteer and professional Free Software work, Hill writes and speaks extensively on issues of free software, intellectual property, collaboration, and technology. email: mako@bork.hampshire.edu Works Cited Boynton, Robert. ”The Tyranny of Copyright.”New York Times Magazine http://www.nytimes.com/2004/01/25/magazine/25COPYRIGHT.html Bollier, David. Silent Theft: the Private Plunder of our Common Wealth. New York: Routledge, 2002. Lessig, Lawrence. Code and Other Laws of Cyberspace. New York: Basic Books, 1999. .The Future of ideas. New York: Random House, 2001. Prakash, Gyan. Another Reason: Science and the Imagination of Modern India. Princeton, NJ: Princeton University Press, 1999. Soros, George. Open Society: Reforming Global Capitalism. New York: Public Affairs, 2000. Terranova, Tiziana. “Free Labor: Producing Culture for the Global Economy.” Social Text. (18): 2: 33-57, 2000. Warner, Michael. Publics and Counterpublics. New York: Zone Books, 2002. Weblinks: http://www.gnu.org/philosophy/free-sw.html http://www.debian.org/social_contract.html#guidelines, http://www.opensource.org/docs/definition.php http://www.slweekly.com/editorial/2004/feat_2004-01-22.cfm http://www.indymedia.org http://creativecommons.org/ http://www.publicknowledge.org/ Citation reference for this article MLA Style Coleman, Biella & Hill, Mako. "How Free Became Open and Everything Else Under the Sun" M/C: A Journal of Media and Culture <http://www.media-culture.org.au/0406/02_Coleman-Hill.php>. APA Style Coleman, B. & Hill, M. (2004, Jul1). How Free Became Open and Everything Else Under the Sun. M/C: A Journal of Media and Culture, 7, <http://www.media-culture.org.au/0406/02_Coleman-Hill.php>

Through Andy Warhol, much important thinking about the meanings of celebrity for a capitalist, schizoid world takes place — by Andy, by his significant others (Pat Hackett, Bob Colacello, Brigid Berlin), and by the consumers and contemplators of his works. Both a source of his own observations and a screen on which philosophies are projected, Warhol presents an unparalleled critique of celebrity. Other horizontalities, such as Madonna’s, do not generate half the heat as Warhol’s own tendril-like intrusion into so many aspects of the media machine (music, publishing, modeling, painting, film-making, writing). Exchanging competence for breadth, Warhol follows Michel de Certeau’s critique of Freud in Heterologies: Discourse on the Other perfectly: he, too, makes a “conquista” of disciplines and practices outside his sphere of competence. Warhol’s comments with respect to actress Janet Gaynor’s paintings after her May 1976 opening at Manhattan’s Wally Findlay Gallery refer both to Gaynor and himself: “‘The paintings are so bad…but I bet they go up. Look how big she signs her name. It’s like buying an autograph and then you get the flowers thrown in, right?’” (Colacello 289). Comprehending the power of branding, Warhol grants autograph primacy over “autographed.” Factoring the art market into his aesthetics, Warhol founds his definition about what counts as art upon what counts as economics. Through him, business art truly comes into its own. Contemplating art suddenly means comprehending art’s social and financial contexts as well — as when, for example, Warhol ponders the absence of a black audience for his work: “Some blacks recognized me a few times this weekend, and I’m trying to figure out what they recognize so I can somehow sell it to them, whatever it is” (Diaries, Sunday 3 July 1977). Setting his own life up as a philosophical object, Warhol exemplifies astrophysics’ great question of how nothing can produce something. Fashion philosophe himself, he also answers fellow thinker Quentin Crisp’s important question about how “zero” becomes “one.” For both Warhol and Crisp, celebrity is founded upon the algebraic exchange of a positive quantity (fame) for a placeholding nonquantity (nonentity). In How to Have a Life-Style, Crisp traces his interest in the proliferative zero to the educative childhood lunchtime acquisition which first taught him the importance of spontaneous generation: One day, when I was lying as naked as the Greater London Council would allow on a few planks in the “life” room of Walthamstowe College of Art, a student came and sat beside me. It did not befit my station in life to begin a conversation with her. My supposition was that she wished less to be with me than in front of the only electric heater in the place. I was amazed when she asked me if I would like some of the chocolate that formed the “afters” of her instant lunch. I sat up at once. My limbs were galvanized, as though insulin had been pumped into my muscles, by the thought of getting something for nothing. The girl broke her slab of chocolate in two and handed me half. (3) For Crisp, the production of celebrity from nonentity echoes other unbalanced nonexchanges; concerned with similar economic aberrances, Warhol takes a related pleasure in the freak appearance of fame. Like Crisp, he also finds himself “galvanized” by the prospect of converting the null set into the productive series. Setting himself up as a “stargazer” (Stephen Koch’s epithet), Warhol makes it his project to reflect the fame of others, while using those reflections to garner fame for himself. Becoming a surface, Warhol makes fame a question of optics. Throughout the Diaries, we witness Warhol’s constant attention to his own appearance: “Got my live-in contacts but I can’t read or draw in them. Do they have bifocals you can wear with contacts? It’s so scary to wake up in the middle of the night and be able to see” (Tuesday 11 Aug. 1981). Normality is consistently painted in the fauve colors of the bizarre — in this quote, vision becomes a source of disorientation. Sight and unsight cross wires. Rather than facilitate the production of his art, ocular prostheses impede it — implying that he is a better artist when blind or half-sighted. Even odder is the fact that Warhol’s new contacts boost his performance as a model. That someone with so “off” an appearance should ever qualify as model material seems almost like a cruel insider joke (as in John Waters’ 1972 film Female Trouble, the repulsive is given new life as the gorgeous). Warhol had always been interested in modeling, though, as a 1968 photo shoot, “The Status Shirt Put On,” demonstrates. The caption reads: “Andy Warhol, right, garnishes velvet pants ($40, from Stone the Crows) with chains, belts and a lace-trimmed dinner shirt from Turnbull & Asser ($40, Bonwit Teller).” Situated at the confluence of status, fashion and chicanery, Warhol as putter-on emerges from his chrysalis as a model — someone meant to be looked at and emulated, a body meant to be run through the media machine and copied. As the Diaries draw to a close, Warhol’s modeling career provides him with his final cultural act: “In the morning I was preparing myself for my appearance in the fashion show Benjamin coordinated at the Tunnel. They’d sent the clothes over and I look like Liberace in them. Should I just go all the way and be the new Liberace? Snakeskin and rabbit fur. Julian Schnabel (laughs) would be so impressed he would start wearing them” (Tuesday 17 Feb. 1987). Bob Colacello is less than kind in his analysis of Warhol as model: Zoli did get him a couple of runway jobs and Daniela Morela put him in a L’Uomo Vogue spread jumping up and down with some other cute guys, but it was obvious that he was being used for his joke value. That October, Halston asked him to model in a Martha Graham charity fashion show as Bloomingdale’s. He didn’t appear until the end of the show, accompanied by Victor Hugo. His face was caked with makeup and he wore a voluminous royal blue taffeta smock with a big red bow around his neck. He looked like a cross between a clown and a Christmas present. Victor wore the same outfit in emerald green. As Andy minced down the runway, I could hear the ladies around me buzz. The words they used were weirdo, creep, and sissy. (442-3) Bursting Warhol’s balloon, and probably paying him back for countless episodes of personal humiliation, Colacello points out the strangeness of Warhol’s new career choice. Like so many other classes of people (old bags, debs), models pique Andy’s curiosity by virtue of their ontological freshness. In his Diaries, Warhol expresses a keen interest in model anthropology: how this new breed of human beings and these new workers comport themselves commands attention. Their language bemuses him: “Jerry Hall came by with a Halston model named Carol, and models just all talk that baby talk, the girls and the boys — you always know you’re talking to a model” (Wednesday 8 July 1981). Like all other industry-bound jargons, model talk emerges from a concrete set of practices and concerns. All creatures from the modeling industry seem to partake of its linguistic possibilities: “Went into the kitchen for coffee in the main house. Pat Cleveland was reading her Latin books and her mind-control books…She was after Jon, showing him how to walk like you have a dime up your ass and they did that well. She talks model talk. And she plays the flute. And she does yoga. All those things” (Saturday 11 July 1981). Generically distinct from other public creatures, models have their own enunciative staples and rules for structuring an utterance. Like Martians, they have their own unique mode of communicating. Ever interested in specificity, Warhol cannot help but be intrigued by the novelty of their speech; in its simplicity and in its constant juvenilization, their language mirrors his own. Saturated with Hollywoodisms, like “up-there” or “the kids,” Warhol’s vocabulary and syntax point to the existence of other linguistic subsystems and idioms. What matters most is the existence of what de Certeau refers to as a “way of operating,” a mode of getting around. Warhol’s fascination with celebrity species informs his own attention to his development over time. Reflecting important fashion debates of the decades he inhabits, Warhol makes his body a living record of all that transpires around it. As in Richard Avedon’s famous photograph of Warhol’s torso (Andy Warhol, Artist, New York City, 8/20/69), his body tells a story — in this instance, about Valerie Solanas’ rage and its traces. Warhol gets to know Warhol, recording his own oscillations in image: “Everyone tells me they like my hair this new way. I cut it every day. It’s almost a crewcut. Fred said I dress like the kids I hang around with now, he likes it. I guess the preppie look really is big because of the Preppie Handbook. I’m wearing all of Jed’s leftover clothes, the ones he left behind. I’m so skinny they fit me now” (Wednesday 8 July 1981). Warhol monitors his appearance with precision, never failing to provide his readers with the details of his transformation from one type to another. With almost an evolutionary sensibility, Warhol traces the development of new styles while also showing the effect they have on his own aesthetic of dressing. Inextricably immersed in time, Warhol gives in to its flows, which wash over him, carrying his body along with their currents. Similarly, he keeps meticulous track of styles of locomotion, as when, after a Twyla Tharp show, he comments: “The dancing, it’s a funny new kind of dancing, falling and tripping, and it looks like disco dancing. It looks like if you had a creative person on the disco floor, that they would do this (intermission drinks $10)” (Thursday, February 15, 1979). Using his early films, like Vinyl, to document dance styles, such as the frug, Warhol records different ways of posturing. He also documents the emergence of new social diseases: “The Donahue Show was on the flasher problem. This is a big important new problem, right? Men who flash. A wife and her husband who flashed were on, they were in the dark, and businessmen and lawyers who flashed” (Monday 28 July 1980). Within the hypermediated universe of capitalism, everything has its fifteen moments of fame, including problems. Ever the voyeur, Warhol makes note of new trends in exhibitionism, well aware that the job of the talk show is to fabricate and disseminate new fears (What do I do if my neighbor flashes me?, etc.). Fears, too, are commodities, as discussed by Barry Glossner in his The Culture of Fear. Alongside locomotionary styles and fashion creature Feynmann sums, anxieties wax and wane in popularity, produced, dissolved and eventually recycled by the media as products-of-the-week. Recognizing the new status of the media in everyday life, Warhol dedicates himself to recording its fluctuations for the purposes of fashion documentary, biography and contemplation. Positing glamour as a breakdown in the fashion system, Warhol offers a worldview in which the faux pas, the leftover and the mismatched forge an aesthetics of desperation. Warhol is the vehicle for fame. Through him, this abstract entity comes to know itself as such, realizing its possibilities through sensual and material objectification. References Books Colacello, Bob. Holy Terror: Andy Warhol Close Up. New York: Cooper Square Press, 1990. Crisp, Quentin. How to Have a Life-Style. Los Angeles: Alyson Books, 1998. De Certeau, Michel. Heterologies: Discourse on the Other. Minneapolis: University of Minnesota Press, 1986. Glossner, Barry. The Culture of Fear. New York: Basic Books, 1999. Warhol, Andy. The Warhol Diaries. New York: Warner Books, 1989. ——— and Hackett, Pat. POPism: The Warhol Sixties. New York: Harcourt Brace Jovanovich, 1980. Articles “The Status Shirt Put On.” Look. 12 Nov. 1968. Time Capsule –12. Films Warhol, Andy. Vinyl, 1965. Waters, John. Female Trouble. New Line Cinema, 1972. Citation reference for this article MLA Style Tata, Michael Angelo. "Beyond the Stars: Warholian Meta-Celebrity." M/C Journal 7.5 (2004). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0411/11-tata.php>. APA Style Tata, M. (Nov. 2004) "Beyond the Stars: Warholian Meta-Celebrity," M/C Journal, 7(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0411/11-tata.php>.


 
 
 Perhaps the supreme quality of print is one that is lost on us, since it has so casual and obvious an existence (McLuhan 160). Print Machine (Thad Donovan, 1995) In the introduction to his book on 9/11, Welcome to the Desert of the Real, Slavoj Zizek uses an analogy of letter writing to emphasize the contingency of post-9/11 reality. In the example, Zizek discusses the efforts of writers to escape the eyes of governmental censors and a system that used blue ink to indicate a message was true, red ink to indicate it was false. The story ends with an individual receiving a letter from the censored country stating that the writer could not find any red ink. The ambiguity and the duplicity of writing, suggested in Zizek’s tale of colored inks, is a condition of the contemporary world, even if we are unaware of it. We exist in an age in which print—the economization of writing—has an increasingly significant and precarious role in our lives. We turn to the Internet chat room for textual interventions in our sexual, political and aesthetic lives. We burn satanic Harry Potter books and issue fatwas against writers like Salman Rushdie. We narrate our lives using pictures, fonts of varying typeface and color, and sound on our personalized homepages. We throw out our printed books and buy audio ones so we can listen to our favorite authors in the car. We place trust of our life savings, personal numbers, and digital identity in the hands of unseen individuals behind computer screens. Decisively, we are a print people, but our very nature of being dependent on the technologies of print in our public and private lives leads to our inability to consider the epistemological, social and existential effects of print on us. In this article, I focus on the current manifestations of print—what I call “newprint”—including their relationships to consumerism, identity formation and the politics of the state. I will then consider the democratic possibilities of print, suggested by the personalization of print through the Internet and home publishing, and conclude with the implications of the end of print that include the possibility of a post-print language and the middle voice. In order to understand the significance of our current print culture, it is important to situate print in the context of the history of communication. In earlier times, writing had magical associations (Harris 10), and commonly these underpinnings led to the stratification of communities. Writing functioned as a type of black box, “the mysterious technology by which any message [could] be concealed from its illiterate bearer” (Harris 16). Plato and Socrates warned against the negative effects of writing on the mind, including the erosion of memory (Ong 81). Though it once supplemented the communicational bases of orality, the written word soon supplanted it and created a dramatic existential shift in people—a separation of “the knower from the known” (Ong 43-44). As writing moved from the inconvenience of illuminated manuscripts and hand-copied texts, it became systemized in Gutenberg print, and writing then took on the signature of the state—messages between people were codified in the technology of print. With the advent of computer technologies in the 1990s, including personal computers, word processing programs, printers, and the Internet, the age of newprint begins. Newprint includes the electronic language of the Internet and other examples of the public alphabet, including billboards, signage and the language of advertising. As much as members of consumer society are led to believe that newprint is the harbinger of positive identity construction and individualism, closer analysis of the mechanisms of newprint leads to a different conclusion. An important context of new print is found in the space of the home computer. The home computer is the workstation of the contemporary discursive culture—people send and receive emails, do their shopping on the Internet, meet friends and even spouses through dating services, conceal their identity on MUDs and MOOs, and produce state-of-the-art publishing projects, even books. The ubiquity of print in the space of the personal computer leads to the vital illusion that this newprint is emancipatory. Some theorists have argued that the Internet exhibits the spirit of communicative action addressed by Juergen Habermas, but such thinkers have neglected the fact that the foundations of newprint, just like those of Gutenberg print, are the state and the corporation. Recent advertising of Hewlett-Packard and other computer companies illustrates this point. One advertisement suggested that consumers could “invent themselves” through HP computer and printer technology: by using the varied media available to them, consumers can make everything from personalized greeting cards to full-fledged books. As Friedrich Kittler illustrates, we should resist the urge to separate the practices of writing from the technologies of their production, what Jay David Bolter (41) denotes as the “writing space”. For as much as we long for new means of democratic and individualistic expression, we should not succumb to the urge to accept newprint because of its immediacy, novelty or efficiency. Doing so will relegate us to a mechanistic existence, what is referenced metaphorically in Thad Donovan’s “print machine.” In multiple contexts, newprint extends the corporate state’s propaganda industry by turning the written word into artifice. Even before newprint, the individual was confronted with the hegemony of writing. Writing creates “context-free language” or “autonomous discourse,” which means an individual cannot directly confront the language or speaker as one could in oral cultures (Ong 78). This further division of the individual from the communicational world is emphasized in newprint’s focus on the aesthetics of the typeface. In word processing programs like Microsoft Word, and specialized ones like TwistType, the consumer can take a word or a sentence and transform it into an aesthetic formation. On the word processing program that is producing this text, I can choose from Blinking Background, Las Vegas Lights, Marching Red or Black Ants, Shimmer, and Sparkle Text. On my campus email system I am confronted with pictorial backgrounds, font selection and animation as an intimate aspect of the communicational system of my college. On my cell phone I can receive text messages, and I can choose to use emoticons (iconic characters and messages) on the Internet. As Walter Ong wrote, “print situates words in space more relentlessly than writing ever did … control of position is everything in print” (Ong 121). In the case of the new culture of print, the control over more functions of the printed page, specifically its presentation, leads some consumers to believe that choice and individuality are the outcomes. Newprint does not free the writer from the constraints imposed by the means of traditional print—the printing press—rather, it furthers them as the individual operates by the logos of a predetermined and programmed electronic print. The capacity to spell and write grammatically correct sentences is abated by the availability of spell- and grammar-checking functions in word processing software. In many ways, the aura of writing is lost in newprint in the same way in which art lost its organic nature as it moved into the age of reproducibility (Benjamin). Just as filters in imaging programs like Photoshop reduce the aesthetic functions of the user to the determinations of the software programmer, the use of automated print technologies—whether spell-checking or fanciful page layout software like QuarkXpress or Page Maker—will further dilute the voice of the writer. Additionally, the new forms of print can lead to a fracturing of community, the opposite intent of Habermas’ communicative action. An example is the recent growth of specialized languages on the Internet. Some of the newer forms of such languages use combinations of alphanumeric characters to create a language that can only be read by those with the code. As Internet print becomes more specialized, a tribal effect may be felt within our communities. Since email began a few years ago, I have noticed that the nature of the emails I receive has been dramatically altered. Today’s emails tend to be short and commonly include short hands (“LOL” = “laugh out loud”), including the elimination of capitalization and punctuation. In surveying students on the reasons behind such alterations of language in email, I am told that these short hands allow for more efficient forms of communication. In my mind, this is the key issue that is at stake in both print and newprint culture—for as long as we rely on print and other communicational systems as a form of efficiency, we are doomed to send and receive inaccurate and potentially dangerous messages. Benedict Anderson and Hannah Arendt addressed the connections of print to nationalistic and fascist urges (Anderson; Arendt), and such tendencies are seen in the post-9/11 discursive formations within the United States. Bumper stickers and Presidential addresses conveyed the same simplistic printed messages: “Either You are with Us or You are with the Terrorists.” Whether dropping leaflets from airplanes or in scrolling text messages on the bottom of the television news screen, the state is dependent on the efficiency of print to maintain control of the citizen. A feature of this efficiency is that newprint be rhetorically immediate in its results, widely available in different forms of technology, and dominated by the notion of individuality and democracy that is envisioned in HP’s “invent yourself” advertsiements. As Marshall McLuhan’s epigram suggests, we have an ambiguous relationship to print. We depend on printed language in our daily lives, for education and for the economic transactions that underpin our consumer world, yet we are unable to confront the rhetoric of the state and mass media that are consequences of the immediacy and magic of both print and new print. Print extends the domination of our consciousness by forms of discourse that privilege representation over experience and the subject over the object. As we look to new means of communicating with one another and of expressing our intimate lives, we must consider altering the discursive foundations of our communication, such as looking to the middle voice. The middle voice erases the distinctions between subjects and objects and instead emphasizes the writer being in the midst of things, as a part of the world as opposed to dominating it (Barthes; Tyler). A few months prior to writing this article, I spent the fall quarter teaching in London. One day I received an email that changed my life. My partner of nearly six years announced that she was leaving me. I was gripped with the fact of my being unable to discuss the situation with her as we were thousands of miles apart and I struggled to understand how such a significant and personal circumstance could be communicated with the printed word of email. Welcome to new print! References Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. London: Verso, 1991. Arendt, Hannah. The Origins of Totalitarianism. San Diego: Harcourt Brace, 1976. Barthes, Roland. “To Write: An Intransitive Verb?” The Languages of Criticism and the Sciences of Man: The Structuralist Controversy. Ed. Richard Macksey and Eugenio Donato. Baltimore: Johns Hopkins UP, 1970. 134-56. Benjamin, Walter. “The Work of Art in the Age of Its Technological Reproducibility: Second Version.” Walter Benjamin: Selected Writings, Volume 3: 1935-1938. Cambridge: Belknap/Harvard, 2002. Bolter, Jay David. Writing Space: The Computer, Hypertext, and the History of Writing. Hillsdale, NJ: Lawrence Erlbaum, 1991. Habermas, Jürgen. The Theory of Communicative Action. Vol. I. Boston: Beacon Press, 1985. Harris, Roy. The Origin of Writing. La Salle, IL: Open Court, 1986. Kittler, Friedrich A. Discourse Networks 1800/1900. Stanford: Stanford UP, 1990. McLuhan, Marshall. Understanding Media: The Extensions of Man. Cambridge: MIT P, 1994. Ong, Walter J. Orality and Literacy: The Technologizing of the Word. London: Routledge, 1991. Tyler, Stephen A. “The Middle Voice: The Influence of Post-Modernism on Empirical Research in Anthropology.” Post-modernism and Anthropology. Eds. K. Geuijen, D. Raven, and J. de Wolf. Assen, The Neatherlands: Van Gorcum, 1995. Zizek, Slavoj. Welcome to the Desert of the Real. London: Verso, 2002. 
 
 
 
 Citation reference for this article
 
 MLA Style
 Lukas, Scott A. "Nevermoreprint." M/C Journal 8.2 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0506/04-lukas.php>. APA Style
 Lukas, S. (Jun. 2005) "Nevermoreprint," M/C Journal, 8(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0506/04-lukas.php>. 

Many of us believe that poetry, specifically activist and experimental poetry, is capable of intervening in our society, as though the right words will call people to action, give the voiceless a voice, and reorder the systems that perpetuate oppression, even if there are few examples of such instances. Nevertheless, my project looks at these very moments, when poetry alters the fabric of our real, to explore the ways these poetical interventions are, in effect, instances of what I have come to call “dissensual” poetry. Using Jacques Rancière’s concept of dissensus and the distribution of the sensible, my project investigates the ways in which dissensual poetry ruptures the distribution of the sensible—“our definite configurations of what is given as our real, as the object of our perceptions and the field of our interventions”—to look at the ways poetry actually does politics (Dissensus 156). I look at three different types of dissensual poetry: concrete poetry, sound poetry, and instapoetry. I argue that these poetic practices prompt a reordering of our society, of what is countable and unaccountable, and of how bodies, capacities, and systems operate. They allow for those whom Rancière calls the anonymous, and whom we might call the oppressed or marginalized, to become known. I argue that bpNichol’s, Judith Copithorne’s, and Steve McCaffery’s concrete poems; the Four Horsemen’s, Penn Kemp’s, and Christian Bök’s sound poems; and rupi kaur’s instapoems are examples of dissensual poetry.

The following study is based on a deep research into the roots of value investing and its essences – Intrinsic Value. The entire philosophy will be based in the simple concept of Margin of Safety developed by Benjamin Graham. During the development of this concept there will be presented the most important concepts of this strategy. Throughout this study, it will also be analysed the market as well as investors’ tendencies and demonstrated that value investing is not based on tendencies and predictions. It will show that Price and Value of securities are the most important variables in taking investment decisions and also study the good investor behaviour and its importance in investing. It will be established the difference between efficient and inefficient markets and concluded that value investing is a long term investment based on inefficient markets theory. The limits of value investing will also be approached in this study. To get profit from the market is not always possible and it depends a lot from many factors, either way, an investor should be defensive, conservative, not greedy and finally, rigorous and disciplined. Finally, this study will reveal a personal view on the most important steps in order to make good financial decisions and examine and analyse Caterpillar’s five years financial statements through the Value Investing method, focusing on six kinds of financial ratios (key indicators, short term indicators, long term indicators, profitability indicators, liquidity indicators and price multiples).<br>Este estudo é baseado numa pesquisa profunda às raízes e princípios de Value Investing – Valor Intrínseco. Toda esta filosofia irá assentar no simples conceito de Margin-of-Safety desenvolvido por Benjamin Graham. À medida que este conceito vai sendo desenvolvido, irão ser abordados os pontos mais importantes da estratégia salientando forças e fraquezas da mesma. Irão ser estudados os mercados financeiros bem como as tendências dos investidores e demonstrado que Value Investing não se baseia em tendências nem em previsões. Irá também ser mostrado que as variáveis preço e valor das acções são as mais importantes na tarefa de tomar decisões de investimento e que os comportamentos disciplinados e rigorosos de um investidor são importantes. Será demonstrada a diferença entre mercados eficientes e ineficientes e concluído que Value Investing é uma forma de investimento a longo prazo baseada na teoria de mercados ineficientes. Os limites de Value Investing vão também ser abordados no projecto. A obtenção de lucros nos mercados financeiros nem sempre é possível e depende de inúmeros factores, de qualquer modo, investidores devem ser defensivos, conservadores, rigorosos e disciplinados. Por fim, será revelada uma opinião pessoal em relação aos mais importantes passos a tomar para obter boas decisões financeiras e serão analisados os relatórios de contas da Caterpillar dos últimos 5 anos. Esta análise terá como base o método de Value Investing focando em seis fundamentais tipos de rácios financeiros (indicadores – chave, indicadores de curto prazo, indicadores de longo prazo, indicadores de lucro, indicadores de liquidez e múltiplos de preços).

In his short stories, novels, social writings, essays, and letters, London repeatedly comes face-to-face with a dilemma: how to participate in a powerful new mass culture characterized by sensation and consumption while remaining dedicated to a public sphere of reflection and critique. This essay argues that in order to address this dilemma, London develops an understanding of sensation and experience (what he sometimes called “the feels”) as a form of critical reflection. In this light, London’s stories share a vision of affective criticality with Walter Benjamin, as well as more recent theorists of the affective-based public sphere like Oscar Negt, Alexander Kluge, and Michael Warner.

This chapter presents an English translation of selected passages from John Warren’s Lectures on Anatomy, delivered between 1783 and 1812. Most of the lectures deal with technical aspects of anatomy, ranging from the structure and parts of the body through characteristics of bones and ligaments to making anatomical preparations. Here Warren offers valuable insights into American medical history and progress. The present selection focuses on the history and theory of anatomy that Warren taught as part of his course over the first three decades in the history of Harvard Medical School (HMS). Warren was one of the founders of HMS on September 19, 1782, with Aaron Dexter and Benjamin Waterhouse. He served as the school’s first Professor of Anatomy and Surgery.

Marcus Termeer folgt in seinem Beitrag Walter Benjamins Erkundung der Moderne als »Zeit der Hölle«, in der die Mode »das Ritual« vorgibt, »nach dem der Fetisch Ware verehrt sein will«. Der Wunsch zur Veränderung bleibt dabei buchstäblich an der Oberfläche und führt zu »Höllenstrafen« des Immer-Gleichen. Was Benjamin fürs 19. Jahrhundert reflektiert, dürfte mehr noch auf den gegenwärtigen Kapitalismus zutreffen. Mode reguliert nun, diktiert durch den ›Markt‹, in ungleich beschleunigten Intervallen Lebensbereiche und Verhaltensweisen - mit Konsequenzen auch für ihre emanzipatorischen Potenziale. Zugleich werden die ausbeuterischen Produktionsbedingungen, besonders in Asien, regelmäßig als »Hölle« beschrieben; eine Metaphorik, die hier allerdings problematisch ist.

In 1795 Barker read Lavoisier’s chemistry, experimented on tainted meat made edible by soaking in alkalis, and began using alkaline therapy such a limewater. He wrote about this to Samuel Mitchill and Benjamin Rush, telling them that he had been called a “dangerous innovator.” A brief history of the acid/alkali debates of the seventeenth and eighteenth centuries includes information about Otto Tachenius, John Colbatch, Hermann Boerhaave, George Ernst Stahl, William Cullen, Joseph Black, and Antoine Lavoisier. Barker wrote about his experiments, azotic air (nitrogen), and his difficulty understanding the mechanism of this apparently successful therapy. His results were published in the Medical Repository, beginning a correspondence with Samuel Latham Mitchill, professor of chemistry at Columbia University. Contributors to the discussion of alkalis included David Hosack, Thomas Beddoes and James Watt, Humphry Davy, and Matthew Carey. Comments by Charles Rosenberg, John Harley Warner, Lester King, and others help us make sense of medical science and the acid/alkali battle.

Veterancy is a natural figure for the kind of wisdom-through-experience that is purveyed, as Walter Benjamin noted in ‘The Storyteller’ (1936), through traditional storytelling. But these three veterans have been stupefied by their experiences in mass, industrial, globalized war – William Wordsworth’s ‘Discharged Soldier’ in the French Revolutionary Wars, Rebecca West’s Chris Baldry (The Return of the Soldier (1918)) and Virginia Woolf’s Septimus Warren Smith (Mrs Dalloway (1925)) in the First World War. Consequently, they are unable to process their experiences into communicable wisdom – a different thing from being able to describe them. Those who encounter these veterans (and this includes the texts’ readers) may feel sadness or anger at their plight. But, though there is affect, there is no empathy, whether through body or mind. All that remains is to look upon these unfathoming, unfathomable characters with consternation.

Basil’s Robert Mannion, and No Name’s Magdalen Vanstone are both subject to monomaniacal impulses. In Basil, Collins draws on early-nineteenth-century theories of insanity and moral management, promoted by “alienists” such as John Connolly and J. C. Prichard, which warned of domination by unruly passions. Mannion allows himself to be swept away by his uncontrolled emotions, and therefore contributes to his own mental deterioration. In No Name, Collins makes use of mid-Victorian theories of the will, developed by mental physiologists such as William Benjamin Carpenter, to depict Magdalen as someone who has not been trained to manage her willpower correctly and is therefore overwhelmed by a monomaniacal urge when faced with sudden tragedy. Unlike Mannion, Magdalen also possesses intrinsic reserves of moral strength and endures a series of internal conflicts between her monomania and her ‘better’ nature. In his contemplation of the different aspects which comprise the individual personality, Collis asserts (and so counters mid-century associationist psychology as propounded by men like Alexander Bain) that we are not ‘born with dispositions like blank sheets of paper’, but also insists that our inborn traits may be cultivated for better or for worse.

In addition to the use of bleeding and mercurials, in this chapter Barker illustrates the beneficial effects of emetics, cathartics, alkalines, and digitalis as well as epispastics, issues, setons and cauteries, opiates, tonics, suitable diet, and salubrious air with exercise, using his own cases and those of authors in both Europe and America. He previously noted the beneficial effects of alkalines in slow fevers and epidemics and, after trials, found them useful in hectic fevers as recorded in some of his case reports since 1800 as well as those of other medical authors. He includes an excerpt of an 1802 article by Benjamin Rush on the benefits of salivation in pulmonary consumption and an 1813 article by Harvard’s John Warren in which he wrote, “The introduction of mercury, in the treatment of pulmonary diseases, after allaying inflammatory action, by venesection, and other evacuants, may be deemed one of the most important innovations, in modern practice.”

This biographical introduction begins with the formation of Catharine Macaulay’s political ideas from when, as Catharine Sawbridge, she lived at the family estate. It follows her through her mature development as the celebrated female historian, to her death in 1791, as Mrs. Macaulay Graham. It notes the influence on her of writings of John Milton, Algernon Sidney, and John Locke as well as other republican works. It covers her marriage to the physician and midwife George Macaulay, and sets out the circumstances which led to the composition, and influence of, her History of England from the Accession of James I (HEAJ). The content of her histories, political philosophy, ethical and educational views, and criticisms of the philosophers David Hume, Thomas Hobbes, Jean-Jacques Rousseau, and Edmund Burke are sketched, and it is argued that her enlightenment radicalism was grounded in Christian eudaimonism, resulting in a form of rational altruism, according to which human happiness depends on the cultivation of the self as a moral individual. It deals with her engagement with individuals in North America before and after the American Revolution, in particular her exchanges with, John Adams, Mercy Otis Warren, Benjamin Rush, and George Washington, and also recounts her contacts with influential players in the French Revolution, in particular, Jacques-Pierre Brissot de Warville and Honoré-Gabriel Riqueti count of Mirabeau. The introduction concludes with her influence on Mary Wollstonecraft and an overview of her mature political philosophy as summarized in her response to Burke’s Reflections on the Revolution in France.