Academic literature on the topic 'Self-figuration'
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Journal articles on the topic "Self-figuration"
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Aguilar Sandín, Benjamin. "La autofiguración en Hombre de la esquina rosada, de Jorge Luis Borges." Sincronía XXV, no. 80 (July 3, 2021): 358–82. http://dx.doi.org/10.32870/sincronia.axxv.n80.17b21.
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This work will analyze the short story Hombre de la esquina rosada by Argentine writer Jorge Luis Borges, in order to establish a relationship between the textual image created by Borges and the concept of Self-Figuration proposed by critic José Amícola (who builds upon the work of critic Sylvia Molloy). In order to further this analysis a brief historical review will be made, particularly focused on the appearance of Autobiography as a genre in the Eighteenth Century and its later consolidation in both Europe and Argentina during the Nineteenth Century. This historical relationship will be used to help analyze the concept of SelfFiguration in the specific case of Borges. Subsequently, this analysis will consider Borges' relationship with cutlers' stories, the relationship of these stories with larger literary tradition and, finally, the Argentine author's Self-Figuration in the tale "Man on the Pink Corner." Commentary from theorist Jesus Davila will also be used to analyze significant features of Borges' cutler's stories and identify elements of said stories which could contribute to Borges' Self-Figuration.
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Junchul Lim. "Self-eulogy to Portrait:Its Ways of Writing and Characteristics of Self-figuration." 고전문학연구 ll, no. 36 (December 2009): 259–300. http://dx.doi.org/10.17838/korcla.2009..36.009.
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Mikkelson, Jane. "Flights of Imagination: Avicenna’s Phoenix (ʿAnqā) and Bedil’s Figuration for the Lyric Self." Journal of South Asian Intellectual History 2, no. 1 (July 31, 2020): 28–72. http://dx.doi.org/10.1163/25425552-12340012.
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Abstract The phoenix (ʿanqā) appears in the philosophy of Avicenna (d.1037) as his example of a “vain intelligible,” a fictional being that exists in the soul, but not in the world. This remarkable bird is notable (along with the Earth, the moon, the sun, and God) for being a species of one. In this essay, I read the poetry Bedil of Delhi (d.1720) in conversation with the philosophical system of Avicenna, arguing that the phoenix in Bedil’s own philosophical system functions as a key figuration that allows him simultaneously to articulate rigorous impersonal systematic ideas and to document his individual first-personal experiences of those ideas. The phoenix also plays a metaliterary role, allowing Bedil to reflect on this way of doing philosophy in the first person—a method founded on the lyric enrichment of Avicennan rationalism. Paying attention to the adjacencies between poetry and philosophy in Bedil, this essay traces the phoenix’s transformations from a famous philosophical example into one of Bedil’s most striking figurations in his arguments about imagination, mind, and self.
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Das, Saitya Brata. "(Dis)Figures of Death: Taking the Side of Derrida, Taking the Side of Death." Derrida Today 3, no. 1 (May 2010): 1–20. http://dx.doi.org/10.3366/drt.2010.0002.
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If the dominant ethico-philosophical thinking of responsibility in the West is founded upon, or tied to a certain figure of death, it is because this ethical notion of responsibility is also a certain econo-onto-thanatology. Here the notion of the gift to the other is always already inscribed within a certain economic equivalence of value, or an economic determination of temporality as the geometric figure of the circle, or a certain economy of the experiences of abandonment and mourning, through which the event-character of the gift, its excess and its infinite surplus is economised, reduced, repressed, or even annulled. Reading Jacques Derrida's deconstruction of this econo-onto-thanatology, and relating him to Schelling, Heidegger, Levinas and Kierkegaard, this article attempts to reveal this very complex relationship of the ethical notion of responsibility and the gift with death, in order to think anew – in the spirit of Derrida – a responsibility in relation to mourning and abandonment, and in relation to a death that does not figure in any figuration of self-figuration and self-presence, but – to speak with Maurice Blanchot – as interminable, incessant worklessness, as endless ruination and abandonment of itself. This impossible aporia of the notion of responsibility is itself a dis-figuring of death, which is also an aporia of an instant which escapes, in its event character, the geometric figure of time as circle.
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Yeğenoğlu, Meyda. "Sovereignty renounced." Philosophy & Social Criticism 40, no. 4-5 (February 12, 2014): 459–68. http://dx.doi.org/10.1177/0191453714522477.
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This article suggests that the historical figuration of Islam as well as the discourse of secularization has played a fundamental role in the constitution of Islam’s externality to Europe. The historical figuration of Islam as Europe’s enemy is haunting Europe. The European secularist anxiety today, which insists on the separation between the domains of the private and the public needs to be understood against the backdrop of this history. If Islam’s inability to separate the religious and the political was historically the dominant motif through which Islam was registered as the arch-enemy, the post-secular, post-Enlightenment period registers Islam as an enemy through a cultural gesture. Derrida’s understanding of spectrality and the concept autoimmunity are deployed to suggest that Islam as a specter haunting Europe undermines the sovereign constitution of a self-identical Europe, but this haunting needs to be seen as Europe’s chance for a self-destructive conservation of Europe. European identity has to be rethought and renewed differently and this rethinking requires that we attend to the present as well as the past and future of Europe, which requires the opening of Europe to otherness and responsibility to the other. Such a rethinking of Europe’s history necessitates thinking about colonialism as well the living embodiments of this colonial legacy today, which are the immigrants.
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SULTAN, NAZMUL S. "Self-Rule and the Problem of Peoplehood in Colonial India." American Political Science Review 114, no. 1 (November 7, 2019): 81–94. http://dx.doi.org/10.1017/s0003055419000601.
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This article theorizes the colonial problem of peoplehood that Indian anticolonial thinkers grappled with in their attempts to conceptualize self-rule, or swaraj. British colonial rule drew its legitimacy from a developmentalist conception of the colonized people as backward and disunited. The discourse of “underdeveloped” colonial peoplehood rendered the Indian people “unfit” for self-government, suspending their sovereignty to an indefinite future. The concept of swaraj would be born with the rejection of deferred colonial self-government. Yet the persistence of the developmentalist figuration of the people generated a crisis of sovereign authorization. The pre-Gandhian swaraj theorists would be faced with the not-yet claimable figure of the people at the very moment of disavowing the British claim to rule. Recovering this underappreciated pre-Gandhian history of the concept of swaraj and reinterpreting its Gandhian moment, this article offers a new reading of Gandhi's theory of moral self-rule. In so doing, it demonstrates how the history of swaraj helps trace the colonial career of popular sovereignty.
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Maguire, Joseph, and Louise Mansfield. "“No-Body’s Perfect”: Women, Aerobics, and the Body Beautiful." Sociology of Sport Journal 15, no. 2 (June 1998): 109–37. http://dx.doi.org/10.1123/ssj.15.2.109.
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This paper seeks to synthesize aspects of feminism and figurational (process) sociology. Women’s bodies are viewed as sites for studying interrelationships between power, gender, and identity construction. The behavioral and emotional rituals of women in a specific aerobics class are mapped out and located within the “exercise–body beautiful complex.” We explore the way in which social constraints and individual self-control interweave in the rationalized management of women’s bodies. The embodied experiences of these women are intertwined with long term enabling and constraining features. Covertly disempowering, the “exercise–body beautiful complex” reinforces established standards of femininity. The realignment of dominant images of femininity is advocated in order to extend the liberating features of the figuration in question.
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Hunter, Lynette. "Echolocation, figuration and tellings: rhetorical strategies in Romeo and Juliet." Language and Literature: International Journal of Stylistics 14, no. 3 (August 2005): 259–78. http://dx.doi.org/10.1177/0963947005054481.
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Romeo and Juliet has often been considered one of Shakespeare’s most self-conscious explorations into language and how it signifies. This article explores what three specific rhetorical strategies imply about how language communicates. First, it looks at the logical power of figuration and how it breaks down language into ambivalence, ambiguity and double-meaning. Second, it introduces the term ‘echolocation’ to allow for a study of the way patterns of repetition of identical or similar sounds and words within different figures can convey argument, and follows the indications of crisis, balance and stasis in the language of the text, and third it examines tellings, retellings and foretellings, as they expose language attempting to determine and simultaneously destabilize significance. While the focus of the study is on the action of language, some consideration is made of the way that identity and language are open to analogous patterns of construction and limitation, and how the reader, audience and theatre practitioner may use those patterns in building a sense of character-part.
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Preda, Alina. "Technological Practices of Embodiment Reflected in Jeanette Winterson’s Fictional Framing of Posthuman Subjects." Metacritic Journal for Comparative Studies and Theory 7, no. 1 (July 8, 2021): 130–47. http://dx.doi.org/10.24193/mjcst.2021.11.08.
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Focusing on The PowerBook and The Stone Gods, this article explores the ways in which Jeanette Winterson articulates the interconnections between consciousness and memory, delineates their role in identity formation and reveals how posthuman subjects’ practices of embodiment work to undermine both heteronormative and anthropocentric worldviews. The technologically inscribed bodies of the characters portrayed in these two novels, together with Winterson’s rhizomatic conceptualization of space and her vertical figuration of time, allow for the time-travelling endeavours of e-storyteller Ali/x and of Robo-sapiens-cum-Robo-head Spike. Such fictional entities prompt investigations into the essence of social-material encounters, of subject-object interdependence, of matter-energy vitality, of interaction and intra-action, of reflexive thought and of self-configuration.
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Tai, Peng-yi. "The Animator as Inventor: Labour and the New Animated Machine Comedy of the 2010s." Animation 13, no. 3 (November 2018): 238–51. http://dx.doi.org/10.1177/1746847718805163.
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Around 2010, the inventor character started to populate animated blockbusters. Computer 3D animated films and their sequels such as Robots (Chris Wedge and Carlos Saldanha, 2005), Cloudy with a Chance of Meatballs (Phil Lord and Christopher Miller, 2009), Despicable Me (Pierre Coffin and Chris Renaud, 2010) and Big Hero 6 (Don Hall and Chris Williams, 2014) all feature inventors and their extravagant machines. In this article, the author explores the inventive artisan character as a self-reflexive trope of the animator. She expands Crafton’s thesis of the animator’s self-figuration and Tom Gunning’s work on machine comedy and operational aesthetics to further discussions on the animator and thereby the labour of animation. The article seeks to reveal the political agenda in the new animated machine comedy of the 2010s, which not only reflects the modes of production of contemporary animation studios, but also the larger concerns in the post-Fordist mode of production.
Dissertations / Theses on the topic "Self-figuration"
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Curlin, Jane Renee. "Writing women feminine self-figuration in the work of Elizabeth Gaskell /." Access abstract and link to full text, 1990. http://0-wwwlib.umi.com.library.utulsa.edu/dissertations/fullcit/9318169.
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Spandau, Gustavo Walter. "Los \"papeles personales\" de Rodolfo Walsh: el violento oficio del diarista." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-06052015-105212/.
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El presente trabajo propone un análisis de los diarios de Rodolfo Walsh escritos entre 1957 y 1976. Estas anotaciones personales, que lleva a cabo el escritor a lo largo de casi veinte años, se encuentran en el libro Ese hombre y otros papeles personales, editado por Daniel Link. De esta forma, la investigación se centra en estos textos personales que constituyen un verdadero cuaderno de bitácora del autor, ya que además de su diario abarca otras escrituras del yo vecinas y correlativas a éste, como memorias, relatos de infancia y diverso material de cuño autobiográfico. De este modo, el primer capítulo se centra en dos tópicos previos al trabajo específico sobre el corpus. El primero referido a la problemática de los géneros literarios que transita el escritor en su obra. Y en segundo término se analiza la cuestión del diario íntimo en general y, las escrituras del yo en referencia al diarista, como qué tipo de diario construye y las dificultades que presenta su fragmentariedad y heterogeneidad. El segundo y tercer capítulo se centran en el análisis del diario íntimo del escritor propiamente dicho, desde su estancia en Cuba entre 1959 y 1961 hasta su actuación en el caso Padilla en 1972, entre otras circunstancias. En el cuarto capítulo el análisis se basa en el material de cuño autobiográfico del escritor existente en el corpus y los rasgos autofigurativos que emergen del mismo. Finalmente, en el último capítulo el estudio incursiona en la problemática de la violencia revolucionaria para Rodolfo Walsh y cómo se configura ello a partir de los escritos del diarista. El trabajo se propone, en definitiva, una reflexión sobre esa heterogeneidad y heterodoxia del corpus a partir de la emergencia de un sujeto escindido y cómo opera y se configura ello en los propios textos y su vínculo con la escritura pública del autor.The present dissertation proposes an analysis of Rodolfo Walshs diaries written between 1957 and 1976. These personal notes, which have been made during almost twenty years, are in the book entitled Ese Hombre Y Otros Papeles Personales, organized by Daniel Link. Thus, this research focuses on these personal texts that are a real logbook of the author, considering that beside the diary, the notes include other correlated writings as memories, childhood stories and autobiographical material. The first chapter focuses in two preliminary topics: the first one is about the problems that emerge from the subject of the literary genres related to the author and his work, and the second one analyzes the issue of the diary in general, the scripts referring to the author, what kind of diary was built and the difficulties of its fragmentation and heterogeneity. The second and third chapters are centered on the analyses of the writers diary itself, since his stay in Cuba between 1959 and 1961 until his performance in \"Padilla\" in 1972, among other circumstances. In the fourth chapter the research is based on the autobiographic material of the writer inside the corpus and the personal traits which represent and emerge from it. Finally, in the last chapter the study goes into the problem of revolutionary violence to Rodolfo Walsh and how it is configured from the writings of the author. In summary, the paper proposes a reflection about all this corpus heterogeneity and heterodoxy, from the emergence of a divided subject and the observation of the configuration of it inside the texts and its relation with Walshs public writing.
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Patrocínio, Ana Paula Ramos. "Modos de leitura de Operación Masacre: ficção e autofiguração autoral em perspectiva." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-07122018-094828/.
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Este trabalho se propõe a analisar os modos de leitura de Operación Masacre (1957), de Rodolfo Walsh (1927-1977), e de seus textos prévios publicadas no jornal Revolución Nacional, nos dias 15 de janeiro e 29 de janeiro de 1957. A dissertação analisa as formas como foram lidas as antecipações do livro (em geral como denúncias, notícias e reportagens), concluindo que as nomenclaturas utilizadas não fazem jus às técnicas (fundamentalmente ficcionais) e aos procedimentos manipulados por Walsh nesse jornal. Quanto ao livro, a dissertação demonstra como a crítica acadêmica o considerou basicamente como Testemunho (Rama, 1976; Piglia, 1987; Viñas, 1996) e/ou como Não-ficção (Sánchez, 1992; Bocchino, 2004; 2007). A partir dessas leituras, a dissertação estuda como o gênero Não-ficção usa-se de técnicas do Realismo, enquanto o Testemunho rechaça tais técnicas em nome do caráter irrepresentável da experiência traumática. Diante de tais considerações, a dissertação compara as estratégias de Walsh para retratar as cenas de violência com as de outras obras dos gêneros Testemunho e Não-ficção. Assim, mediante as análises das técnicas de cada gênero, o trabalho conclui que, igualmente ao que acontecia nos textos prévios publicados no jornal, Walsh compõe a narrativa do livro por meio de técnicas ficcionais, sobretudo a autofiguração autoral, que constitui o principal assentamento de sua verossimilhança.This study aims at analyzing the modes of reading Operación Masacre (1957), from Rodolfo Walsh (1927-1977) and his previous texts published in the newspaper Revolución Nacional on January 15th and January 29th in 1957. The dissertation analyzes the modes in which anticipations of the book were read (generally as denunciations, news and reportings), concluding that the nomenclatures used do not do justice to the procedures and techniques (fundamentally fictional) used by Walsh in that newspaper. With regard to the book, the dissertation demonstrates how the academic criticism considered it basically as a Testimony (Rama,1976; Piglia, 1987; Viñas,1996) and/or as Non-fiction (Sánchez,1992; Bocchino, 2004; 2007). From these readings, the dissertation examines how the Non-fiction genre uses techniques from Realism, while the Testimony rejects those techniques in the name of the unrepresentable nature of the traumatic experience. Based on these considerations, the dissertation compares the strategies of Walsh to depict the scenes of violence to the strategies of other works of the Testimony and Non-fiction genres. Thus, through the analysis of the techniques in each genre, this work comes to the conclusion that, similarly to what happened in the previous texts published in the newspaper, Walsh composes the narrative of the book with fictional techniques, mainly the authorial self-figuration, which constitutes the main registration of its verisimilitude.
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Brahm, Mikkel. "Seeking to control enterprise with architecture : the limits and value of an engineering approach from the perspective of an enterprise architect." Thesis, University of Hertfordshire, 2017. http://hdl.handle.net/2299/17596.
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In this thesis, I challenge assumptions underlying my discipline of enterprise architecture that led to two choices facing practitioners: either to work with tools and techniques which predict and control changes towards predetermined ends or to accept informal processes that are unpredictable and wasteful. Orthodox enterprise architecture defines an enterprise as an organisation, which is a system, and prescribes methods that seek to provide control over the transformation of an organisation into a desired state of affairs by achieving complete knowledge of the system before initiating the desired transformation. Drawing on complexity sciences, I offer a different perspective on organisation and claim that organising what we do is an aspect of doing what we do. Organising is process. I furthermore claim that the people who are organising what we do can act spontaneously and surprise both themselves and others, but often they act habitually. Habitual ways of acting allow us to anticipate to some extent how others are likely to respond to us and, as we grow up, we learn how to behave ourselves, that is, how to adjust our behaviour to what we judge socially acceptable to increase the likelihood of being able to garner support and collaboration. I posit that social control is exercised in this way as mutual self-adjustment that forms what is normal and valued conduct. In other words, our shared social norms and values thus paradoxically and simultaneously form individuals and their conduct and are formed by individuals and their conduct. I claim that in this way we have partial, but never full, knowledge of how others generally respond to certain behaviour of ours. We can ever have only partial knowledge of that which is - in the words of Mannheim - in the process of becoming. I therefore reject the central assumptions upon which orthodox enterprise architecture is based. In organisations, we engineer and exploit mechanical mechanisms that can conduct certain action more effectively and efficiently than people can. Materiality, objects in the world, can resist attempts to shape them to suit our needs but do so without intentionality or spontaneity. Accommodating material resistance is thus repeatable. Enterprise architecture as a discipline grew out of engineering of physical mechanisms and assumes a similar repeatability and predictability when working with the social, which I find to be an unwarranted assumption. I argue against the claim of orthodox enterprise architecture that we can bring about a pre-determined state in a controlled fashion and against the claim that without such control we have informal processes that are inevitably unpredictable and wasteful. I posit that what emerges is paradoxically stable instabilities of socially enabled and constrained recognisable patterns of behaviour. When devising a mechanism in a physical object, such as a software programme, a repertoire of scripted action is transcribed into it which remains constant until transcription is renewed. Transcription has a tendency to render action less fluid. Some members of an organisation may judge particular scripted action to be awkward or detrimental while others may judge the same scripted action to be efficient and beneficial. Thus, determining which scripted action to transcribe into mechanisms is a highly political decision which attracts the attention of skilful political players. Enterprise architects can have a valuable role to play, since we have a better than average partial knowledge about technology, and since technology is increasingly important for many enterprises. I posit that becoming more aware of power and power plays, developing a feel for the game, and becoming more detached about our involvement will allow us to play into what is emerging socially with more political awareness and expertise.
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Duarte, Gonçalo. "Une poétique de la déflation chez Fernando Assis Pacheco et Adília Lopes." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040159/document.
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Les œuvres poétiques de Fernando Assis Pacheco (Coimbra, 1937 – Lisbonne, 1995) et d’Adília Lopes (Lisbonne, 1960) présentent des éléments communs: un sabotage du langage poétique traditionnel, une dépréciation du sujet poétique, une représentation du monde apparemment triviale. Notre proposition est que ces trois grandes caractéristiques sont liées entre elles, de par leurs modes de concrétisation et les intentions qui les sous-tendent. On y retrouve en effet un même projet de « dégonflement » – d’un langage poétique grandiloquent et ampoulé, d’un sujet lyrique prétentieux et qui se prend trop au sérieux, d’une conception du monde excessivement épurée ou tendant vers le transcendantal. Néanmoins, cette opération ne s’assimile pas à une action proprement déconstructiviste, car elle vise à transmettre à ces entités un « souffle » susceptible de leur conférer une force animique et une capacité d’intervention. C’est sur la base de ce double mouvement que nous proposons le terme de « poétique de la déflation », en choisissant une notion qui recouvre à la fois ces deux acceptions (respectivement, dans les domaines économique et géomorphologique). L’adoption du prisme de la déflation nous permettra d’examiner le modèle sous-jacent des œuvres de Fernando Assis Pacheco et d’Adília Lopes. Pour le faire, notre travail se décompose en trois parties : nous étudions successivement la façon dont ces auteurs s’engagent dans une procédure de déflation du langage poétique qu’ils utilisent (concrètement, en nous penchant sur ses formes narratives) ; du sujet lyrique qu’ils figurent (par l’analyse d’une fluidification dans la figuration de ce sujet) ; et de la conception du monde que dénote leur poésie (en nous intéressant à la dimension éthique qui y est implicite)The poetic works of Fernando Assis Pacheco (Coimbra, 1937 - Lisbon, 1995) and Adília Lopes (Lisbon, 1960) have common elements: a sabotage of the traditional poetic language, an impairment of the poetic self, an apparently trivial representation of the world. Our proposal is that these three characteristics are interrelated, by their modes of realization and the intentions that underlie them. We find indeed a project of "reduction" – of the pompous and bombastic language of poetry, of a pretentious lyrical self that takes itself too seriously, of a conception of the world excessively refined or tending towards the transcendental. However, this does not amount to a proper deconstructive action because it aims to convey a sense of strength and energy to these entities a purifying "breath". On the basis of this double movement we propose the term "poetics of deflation", choosing a concept that covers both these two meanings (respectively, in the economic and geomorphic domains). Adopting the prism of deflation allow us to examine the underlying model at Fernando Assis Pacheco’s and Adília Lopes’ poetry. To do so, our work is divided into three parts: we successively study how these writers engage in a process of deflation of the poetic language they use (specifically, by looking at its narrative forms); of the lyrical self that they portray (through analysis of a fluidity in this process of portrayal); and the world view they manifest in their poetry (focusing on its ethical dimension)
Book chapters on the topic "Self-figuration"
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Tausig, Benjamin. "Megaphonic Somsak Comes by His Goddamn Self." In Bangkok is Ringing, 77–85. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190847524.003.0007.
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This chapter explains the use of the megaphone by Red Shirt protesters as an act of figuration, in Donna Haraway’s sense. The figured performance of megaphone singing or oration specifically suggested that Red Shirts were self-motivated, rather than agents provoked or paid by outside forces. Megaphone lectures gave the impression that the Red Shirts were authentically motivated. The author calls this sense of self-motivation kuu maa’eng (“I came by my goddamn self”) protest, after a slogan commonly used by the Red Shirts themselves. The chapter focuses ethnographically on one particular megaphone orator who came to most large Red Shirt protests in 2010–11.
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"5. Luis Cernuda: “Remember Him and Remember Him to Others” − Historical Memory, Self-Elegy, and Mythopoetic Figuration." In This Ghostly Poetry, 105–31. University of Toronto Press, 2020. http://dx.doi.org/10.3138/9781487518844-007.
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"Native Journeys of Self-Figuration: N. Scott Momaday’s The Way to Rainy Mountain and Gloria Anzaldúa’s Borderlands / La Frontera." In Selves in Dialogue, 109–32. Brill | Rodopi, 2011. http://dx.doi.org/10.1163/9789401206853_007.
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Hill, Rebecca. "Immanent maternal." In Antiquities Beyond Humanism, 271–86. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198805670.003.0013.
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Hill’s chapter takes up Aristotle’s claim that time is always other and other (aei allo kai allo) and the same (hama pas chronos ho autos) as a figuring of time that exceeds his definition of time as the measurement of motion. Hill reads Aristotle’s claim that time is always other and other and the same in relation to Henri Bergson’s theory of duration as heterogeneous and continuous change. Bergson conceives of the Whole Universe in terms of virtual fluxes of duration. The final section of this chapter refigures the Bergsonian virtual Whole with reference to Luce Irigaray’s essay “Volume without Contour” from Speculum of the Other Woman. Hill proposes, strategically, a figuration of the maternal as immanent time in which there is no more self and disavowed other, and no more inside and outside, but only virtual rhythms of the immanent maternal, always other and other.
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Anderson, Judith H. "Introduction." In Light and Death. Fordham University Press, 2017. http://dx.doi.org/10.5422/fordham/9780823272778.003.0001.
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The word issues derived from Latin exire, “to go out,” “to go forth,” embraces meanings that include “outflows,” “problems,” and “extensions.” The figuration of death flows into contrasting figurations of life and light, and light extends to its use specifically in analogies of vision and being: Fiat lux. Poiesis, “making, producing, creating,” is fundamental to insight in the sign systems of mathematics and verbal language, both of which use analogy constructively. Traditionally, analogy is the connector between the known and the unknown, the sensible and the infinite, this earth and what is beyond it. The first three chapters of this book treat evil, sin, and death in Spenser, Donne, and Milton, and these treatments open into questions of mortalism, individuation, self-knowledge, and the means by which we represent and consider them. Chapter 4 turns to the history and theory of analogy, and subsequent chapters examine analogy, light, and death in the science and poetry of Kepler, Donne, and Milton.
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McKeon, Michael. "Marvell discovers the public sphere." In Texts and readers in the Age of Marvell, 56–74. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526113894.003.0004.
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As formulated by Jürgen Habermas, the public sphere is a realm of communication that mediates between the actual discourse of private individuals and, largely through print, virtual public communication. The idea of the public sphere has attracted an extraordinary amount of attention from scholars of early modern and eighteenth-century studies, many of whom silently endorse it by incorporating the term into their description of public commentary and debate. Others affirm or challenge the existence of a public sphere by reference to the conditions that are said to engender it, the degree of its inclusivity, or the timing of its emergence. If these might be called questions about the external constitution of the public sphere, the present chapter asks if we can discover ‘internal’ evidence of its existence: an emergent awareness that there is something about the virtuality of printed discourse that both sophisticates and complicates what it means to communicate with others. The chapter’s argument is that in adapting Buckingham’s farce (The Rehearsal, acted 1671) to his own polemic against Samuel Parker (The Rehearsal Transpros’d, 1672, 1673), Marvell finds in his self-conscious concern with the verbal techniques of figuration, accommodation, and parody a model for the hypothesis of a public sphere.
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Wang, Qi. "Toward the Figuration of a Postsocialist Subject." In Memory, Subjectivity and Independent Chinese Cinema. Edinburgh University Press, 2014. http://dx.doi.org/10.3366/edinburgh/9780748692330.003.0002.
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Chapter 1 first provides a succinct account of the representational mechanisms of subjectivity and spatiality found in yangbanxi, the famous model operas (along with their contemporaneous cinematic reproductions) of the Cultural Revolution. It then discusses the screen subjectivities in the 1980s and rediscovers a 1980 film, Night Rain in Bashan, which qualifies as an uncanny harbinger of contemporary independent cinema in terms of its imaging of a borderline subjectivity: a forsaken child. This chapter concludes with an elaborate discussion of the Forsaken Generation whose historical self-portraiture is evidenced by a range of contemporary cultural forms including literature, music, painting, theatre, and cinema.