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1	A Manifold of Re-presentation : Derrida's Reassessment of Transcendental Aesthetics Montan, Calle January 2012 (has links) This essay attempts to outline Jacques Derrida’s envisaged rewriting of transcendental aesthetics, hinted at in De la grammatologie. Focusing mainly on the texts published during the 1960’s (especially La voix et le phénomène) and the early 1970’s, I try to situate Derrida’s thought within the horizon of transcendental philosophy. Special attention is devoted to Immanuel Kant and Edmund Husserl given the importance that Derrida ascribes to them. My intention is to capture Derrida’s position towards these previous attempts of formulating a transcendental aesthetics. In Derrida’s view – the way I interpret it – transcendental aesthetics is a set of issues concerning (i) the philosophy of time and space and the constitution of time and space, (ii) a theory concerning the constitution of conditions (iii) a theory concerning the lowest level of cognition. I will try to support the claim that Derrida’s famous notion, la différance, entails a recasting of previous notions of transcendental aesthetics. Derrida is well known for his claim that experience is not direct; it must be given through re-presentations, which synthesize sense (ideal objects) and the sensed. Ideal objects are themselves dependent on language and hence experience cannot be brought about without the mediation of language. In this essay the claim that neither space nor time would be without the sign is substantiated. With this in mind I attempt to show that Derrida’s rewriting of transcendental aesthetics amounts to promoting the concept of spacing, which represents the-becoming-spaceof-time and the-becoming-time-of-space. Without the deferring and differing involved in the movement of la différance and the writing of the unconscious there would be neither time nor space. One of the most important outcomes of this essay is the presentation of the interplay between activity and passivity involved in the constitution of ideality performed by unconscious writing. Derrida Transcendental Aesthetics Re-presentation
2	(re)presentation KOSKY, ABIGAIL SUZANNE 01 July 2003 (has links) No description available. Architecture object familiar re-presentation concrete masonry unit
3	A mixed methods study investigating re-presentation, symptom attribution and psychological health in primary percutaneous coronary intervention patients Iles-Smith, Heather January 2012 (has links) Introduction: Following ST-elevation myocardial infarction (STEMI) and treatment with Primary Percutaneous Coronary Intervention (PPCI), some patients re-present with potential ischaemic heart disease (IHD) symptoms. Symptoms may be related to cardiac ischaemia, reduced psychological health or a comorbid condition, which share similar symptoms and may lead patients to seek help via acute services. The purpose of the study was to investigate the proportion of PPCI patients who re-presented to acute services due to potential IHD symptoms within 6 months of STEMI, and to explore associated factors. Methods: An explanatory mixed methods study was conducted. Quantitative data were collected at baseline and 6 months from consecutive patients attending two centres in Manchester. Variables were carefully considered based on a conceptual model for re-presentation. These included potential IHD symptom and psychological health assessments using self-report measures: the Seattle Angina Questionnaire (SAQ) and the Hospital and Anxiety and Depression Scale (HADS). Physiological health was measured using the Global Registry of Acute Coronary Events (GRACE) and the Charleson Comorbidity Index (CCI) at baseline. At 6 months re-presentation data were collected using patient records, a telephone interview and a self-report diary card. The experiences of some who re-presented (purposeful sampling) were explored through semi-structured interviews conducted at least 6 months following PPCI. Framework analysis was adopted to analyse data. Results: 202 PPCI patients returned baseline questionnaires [mean age 59.7 years (SD 13.9), 75.7% male]; 38 (18.8%; 95% CI 14.0% to 24.8%) participants re-presented due to potential IHD symptoms at 6 months; 16 (42.1%) re-presented due to a cardiac event and 22 (57.9%) did not receive a diagnosis. At both baseline and 6 months, mean HADS anxiety scores were higher for the re-presentation group compared to the non-representation group (baseline 9.5 vs 7.1, p=0.006; 6 months 9.4 vs 6.0, p<0.001). Angina symptoms were stable and infrequent at both time points for the groups. Multivariate regression modelling with the inclusion of predictors HADS anxiety, SAQ angina stability, SAQ angina frequency, GRACE and CCI, determined HADS anxiety as a predictor of re-presentation with an adjusted odds ratio of 1.12 (95% CI 1.03 to 1.22, p=0.008). The qualitative interviews with re-presenters included 25 participants (14 men, 27-79 years). Four themes were identified: fear of experiencing a further heart attack, uncertainty and inability to determine cause of symptoms, insufficient opportunity to validate self-construction of illness and difficulty adapting to life after a heart attack. Conclusion: Elevated levels of anxiety at baseline were predictive of re-presentation with potential IHD symptoms at 6 months. Factors such as shock at experiencing a heart attack, hypervigilance of symptoms and difficulty with symptom attribution appeared to play a role in raised anxiety levels for the re-presentation group. Findings suggested that changes are needed to cardiac rehabilitation and post-STEMI follow-up to address educational needs and psychological issues and changes in STEMI treatment. 616.123
4	FROM REAL TO REEL: WHITE SUPREMACY AND ITS EVERYDAY HAUNTING OF BLACK LIVES Iyun, Abimbola 01 August 2023 (has links) (PDF) White supremacy fundamentally organizes society in its own image. It places itself at the top of a social hierarchical order where everything defaults to its own likeness and desires. In this dissertation, I deconstruct the nature of White supremacy and highlight the conventions of Black horror that interrogate it as evil and monstrous. In the chapters that follow, I do this through a close reading of the television series Lovecraft Country (Misha Green, USA, 2020) and underline how Black horror brings to the surface the everyday experiences of Black subjects in a racist society. While several commentators had claimed that with the presidency of Barack Obama we had moved into a post-racial society, cultural texts like Lovecraft Country show that such claims are disconnected from reality.#White Supremacy #White Monstrosity #Whiteness as evil #Black horror. Black Horror Body Horror Possessing the other Re-presentation White Monstrosity White Supremacy
5	Gegen(-) Abwesenheiten Bolte, Rike 18 February 2014 (has links) Während der letzten argentinischen Diktatur (1976-1983) wurden zehntausende Menschen in geheimen Lagern festgehalten, gefoltert und ermordet – dann ''verschwanden'' sie. Die meisten Fälle sind nur schwer rekonstruierbar, viele Täter kamen ungestraft davon. Für diese staatsterroristische Praxis wurde die Bezeichnung erzwungenes Verschwinden eingeführt (spanisch desaparición forzada). Die Untersuchung beschäftigt sich mit medialen und ästhetischen Verfahrensweisen, die in Argentinien in der Auseinandersetzung mit der desaparición forzada entwickelt wurden. Im Vordergrund steht die These, dass die gewaltsame Depräsentation der Opfer zu einem gesellschaftlichen ''Wahrnehmungsmord'' ("percepticidio") geführt hat. Die medialen Strategien und ästhetischen Produktionen, die die Untersuchung analysiert, markieren den gegenwärtigen Stand einer transgenerationellen kulturellen Bearbeitung dieser wahrnehmungsrelevanten sozialen und politischen Erfahrung. Es handelt sich um Produktionen im Bereich Narrativik, Lyrik, Fotografie, Film und Theater, die im Kontext der Memoria-Hochkonjunktur nach 1989 und der digitalen Globalisierung stehen. Félix Bruzzone, Mariana Enríquez und Martín Gambarotta, Virginia Giannoni und Lucila Quieto sowie Albertina Carri und Lola Arias haben Kontra(re)präsentationen zum gewaltsamen Verschwinden entworfen, die materiell, meta-medial und kontrainformativ verfahren. Nach diskursanalytischen, repräsentations- und medientheoretischen Einführungen sowie einer Reihe terminologischer Definitionen arbeitet die Untersuchung an diesen Produktionen einer postdiktatorischen Generation, die als "Camada Cadáver" bezeichnet wird, heraus, dass ein ''Phänomen'' wie das erzwungene Verschwinden – das in vielfache Referenzlosigkeit führt – ästhetische Strategien motiviert hat, die als beispielhaft emergent und experimentell einzustufen sind, weil sie neue Erkenntnisse für die noch unabgeschlossene Erforschung eines der vielen Terrorregimes des 20. Jahrhundert liefern. / During the Argentinean dictatorship (1976-1983), tens of thousands of people were kept in secret camps, were tortured, murdered, and ''disappeared''. Most cases are difficult to reconstruct. Many of the offenders have remained unpunished. The term "forced disappearance" (Spanish desaparición forzada) was introduced for this act of state terrorism. This study addresses medial and esthetic processes that were developed in light of the debate on desaparición forzada in Argentina. At the heart of the study is the hypothesis that the violent ''depresentation'' of the victims has led to ''cognitive murder'' ("percepticidio"). The media strategy and esthetic productions analyzed in the study represent the current state of the art of the trans-generational cultural work on cognition relevant social and political experiences. The productions in the field of the study of narration, poetry, photography, film, and theater have emerged in context of the post 1989 memory-boom and digital globalization. Félix Bruzzone, Mariana Enríquez und Martín Gambarotta, Virginia Giannoni, and Lucila Quieto as well as Albertina Carri and Lola Arias have conceptualized counter(re)presentations to violent disappearance which proceed materially, meta-medially, and counter-informatively. Following introductions on discourse analysis, representation theory, and media theory as well as a number of terminology definitions, the study analyzes the above mentioned productions created by a post dictatorship generation, which are being referred to as the "Camada Cadáver", and shows that the ''phenomenon'' of forced disappearance, which leads to a repeated lack of reference, has motivated esthetic strategies that are to be classified as exemplarily emergent and experimental, because they have produced new insights for the unfinished research on one of the many terror regimes of the twentieth century. Fotografie Materialität Theater Repräsentation Film Argentinien Literaturwissenschaft Lateinamerikanistik Argentinische Diktatur (1976-1983) erzwungenes Verschwinden gewaltsame Depräsentation Kontra(re)präsentation percepticidio Wahrnehmungsmord Memoria-Generationen Generationenbegriff Erinnerungsforschung postdiktatorische Ästhetik Kinder von Verschwundenen Lyrik Narrativik Félix Bruzzone Mariana Enríquez Martín Gambarotta Virginia Giannoni Lucila Quieto Albertina Carri Lola Arias theatre Argentina Literary Studies Latin American Studies Argentinean dictatorship (1976-1983) forced disappearance violent depresentation counter(re)presentation percepticidio cognitive murder the memory generation generation concept memory research post dictatorial esthetics materiality children of the disappeared poetry narrative prose photography film Félix Bruzzone Mariana Enríquez Martín Gambarotta Virginia Giannoni Lucila Quieto Albertina Carri Lola Arias 460 Spanisch, Portugiesisch IQ 71025 ddc:460

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