Suchergebnisse

Conventional International Relations (IR) theory defines security as "freedom from danger or risk." Understood in this way, "security" has often been used to justify courses of action & support traditional authorities & regimes. Emphasis on this particular definition has also marginalized other equally valid ways of understanding security. An examination of extracts from four poetic works -- a verse of the ancient Greek writer Archilochus, a selection from an Epistle of St. Paul (1st Thessalonians 5:1-10), a section of a Sufi poem by Jalaludin Rumi, & a portion of The Garden of the Prophet by the contemporary Lebanese poet Kahlil Gibran -- reveals other ways of understanding security. Particularly significant is security as "freedom from care" rather than "freedom from danger." Recognizing the arbitrary ways in which "security" as it has traditionally been understood by IR theorists & security practitioners is thought to be the first step in conceiving & implementing viable alternatives. K. W. Larsen

This collection brings together academics, archivists, artists, and activists whose thought and practices make critical intervention into cultural phenomenon of open data. The sub-title of this publication – politics /practices / poetics – reveals a close entwinement between thought and practice, between thinking and making. The contri-butions offer critical perspectives combined with implications for practice, or they in themselves are practices (such as performances, discussions, acts of care, or visualisations). Each contribution is an open data project in action. Openness is part of the Living Archives research project.http://livingarchives.mah.se/ https://medium.com/the-politics-practices-and-poetics-of-openness

Breath plays a small, but important, role in the work of Keri Hulme. My interest in this essay is to consider what happens when Hulme's representation of breath is brought into conversation with the respiratory poetics of modernism, modernist anthropology, and planetary modernism to address Hulme's contribution to an Aotearoa New Zealand modernism. This conversation is played out in Keri Hulme's treatment of hau or 'breath'. The essay argues that Keri Hulme, in her prose works the bone people (1984) and Te kaihau/The windeater (1986), develops a respiratory poetics: an interrogation of anthropology through experimentations with form.

This paper reflects on affect and emotion as they relate to poetics — her/histories — in twenty-first century museums. Using specific examples, it considers the ways in which collections of material culture hold diverse meanings and how ideas are communicated to audiences over time and space but might also be challenged through imaginative activity. Key objects, exhibitions and activities discussed highlight masculinities at work in museums and include the temporary art installations by Yinka Shonibare and Fred Wilson in the Victoria and Albert Museum's (V&A) Norfolk House Music Room in 2007; the portrait in oils of the Jamaican scholar Francis Williams, painted by an anonymous artist around 1745; and a contemporary oral commentary by Benjamin Zephaniah in the V&A British Galleries, which are considered through a feminist lens of poetics.

This paper analyses the poetics of confrontation used by theatre director Fadhel Jaibi,particularly through his performance Yahia-Yaïh-Amnesia. It uses Michel DeCerteau's conceptof 'tactic' and 'strategy' from his book, The Practice of Everyday Life, as a framework for analysisin order to show how Jaibi used performance as his tactic to oppose the regime's strategies inpre-revolutionary Tunisia, creating thereby a poetics of confrontation to challenge both theregime and the people who were subjected to it. It shows how Jaibi constructed the elementsunderpinning his poetic sof performance by fusing the texts produced by Jalila Baccar with thephysical work of the actors, playing particularly on rhythms of speech, action and sound. Itexplains how Jaibi integrated these elements into a politics of confrontation which includedthe audience. It discusses how, through his artistic work, Jaibi obliged the audience to confrontthe prevailing repressive reality as well as society's acceptance of the existing political situationand social norms. His poetics of confrontation targeted a change in perception, which rejectedthe limits imposed by the regime and coercive social forces in favour of democracy,anticipating and accompanying the social upheaval provoked by the Tunisian revolution in2011.

Intro -- Contents -- Abbreviations of Works by Adorno -- Translations -- Acknowledgments -- Introduction -- Form -- Adorno -- Poetics -- Philology -- Constellation -- 1. Form and Content -- Adorno and Heidegger: The Form of the Thing -- 'Parataxis' -- Parataxis and Linguistic Form -- Form as Sedimented Content -- Parataxis in Adorno's Reading of 'Der Einzige' -- Consequences for Form and Content -- 2. Form and Expression -- The Mediation of Form and Expression -- Literary and Musical Expressionism -- Expressionism and Surrealism -- Kafka -- Mimesis -- Consequences for the Theory of Form -- 3. Form and Genre -- The Fraying of Borders -- The Genesis of the Forms -- Universal and Particular -- Nominalism and its Discontents -- Bourgeois Art and the Culture Industry -- The Novel as Form -- Theory of the Essay -- 4. Form and Material -- Material and Content -- Technique and the Mastery of Material -- Language and Poetry -- The Literary Manifestation of Form and Material -- Consequences for the Theory of Form -- 5. Artistic Form and the Commodity Form -- Social and Abstract Labor -- Abstraction and Exchange -- Mediation and Form -- Purposiveness, Communication, Language -- Poetry and Reconciliation -- Art Beauty and Natural Beauty -- Priority of the Object -- Coda -- Lyric -- Engaging Form -- Beyond the New Formalism -- Conclusion -- Notes -- Works Cited -- Index