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The Global ETD Search service is a free service for researchers
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Showing 11 to 20 of 20 (0.027 seconds)| 11 |
Fantasme et représentation dans l'oeuvre d'Alain Robbe-Grillet / Fantasy and representation in Robbe-Grillet's workDemangeot, Fabien 02 December 2013 (has links)
Cette thèse aura pour but d’interroger deux notions majeures de l’oeuvre robbe-grillétienne : le ‘‘ Fantasme’’ et la ‘‘ Représentation’’. Il s’agira, principalement, de mettre en perspective les différents rapports qui se tissent entre elles et la manière dont elles édifient l’oeuvre du Nouveau Romancier. La façon dont Robbe-Grillet représente le fantasme sera au centre de cette recherche, mais nous aborderons également la notion de représentation à travers le motif du théâtre. En effet, les personnages des films et romans de Robbe-Grillet ne cessent de jouer des rôles stéréotypés (l’espion, la prostituée, le docteur sadique etc.) et il arrive fréquemment que les lieus présentés au début de la diégèse se muent en scènes de spectacle. Chez l’auteur de La Jalousie Le fantasme est fortement théâtralisé comme l’atteste également l’omniprésence de la thématique sadomasochiste. Espace de tous les possibles, l’oeuvre de Robbe-Grillet fantasme aussi sa propre gestation. Le Nouveau Romancier, à l’ image du texte qu’il a engendré, est devenu, lui-aussi, un objet de représentation. Ouverte sur de multiples métamorphoses, cette oeuvre aussi ludique que complexe ne cherche pourtant pas à dévoiler l’ensemble de ses mécanismes. Elle laisse la possibilité au récepteur de créer les siens en acceptant ou non le pacte de lecture proposé par l’auteur. Le lecteur-spectateur, à la fois au centre et à l’extérieur de tout ce qu’il peut lire et voir, se retrouve au coeur d’une représentation qui est autant la sienne que celle de l’auteur. / The aim of this Thesis is to examine and interpret the two main notions of Robbe-Grillet’s overall work which are “Fantasy” and “Representation”. This will mainly be demonstrated by the different relationships that are developing between the two concepts and the way they edify the work of the Nouveau Romancier. The fashion in which Robbe-Grillet characterizes fantasy will be the central argument of this Thesis Dissertation, but we will also discuss the idea of representation through the motive of theatre. In fact, the characters of Robbe-Grillet’s movies and books keep on playing stereotypical roles (a spy, a prostitute, a sadist doctor etc…) and the places represented at the beginning of the story frequently transform the scene as a spectacle. For the author of Jalousie, fantasy is strongly dramatized as shown by the omnipresence of the sadomasochism thematic. Since the work of Robbe-Grillet offers a place where everything is possible, it fantasizes its own gestation. Pictured by the text he engendered, the Nouveau Romancier became an object of self-representation within his own work. Open to multiple metamorphoses, his work, as playful as complex, does not try to display the ensemble of its inside mechanisms and leaves the reader the possibility to create his own interpretation by accepting or not the lecture’s path offered by the author. The readerspectator is both at the center and exterior to everything he can read and see, he finds himself at the heart of a representation that is as much his own as the author’s.
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Fundamentos filosóficos, políticos e educativos da polícia: da sensação de segurança à instituição policialLeal, Gabriel Rodrigues 20 August 2015 (has links)
Made available in DSpace on 2016-04-27T14:31:36Z (GMT). No. of bitstreams: 1
Gabriel Rodrigues Leal.pdf: 3004314 bytes, checksum: 75b9d11c996e62b959fcb5bd40d9b86a (MD5)
Previous issue date: 2015-08-20 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This work aims to support the police science analyzing, first, the affection "sense of
security" through a structured ontology in triangulation between the "moral failure" in
Pascal, the "science of affection" in Espinosa and the "instinct death "in Freud:"
ontology of the abyss. " Given this initial ontoantropológica construction, held the book
I will trace a brief genealogy of the police institution in Book II now accosted in stud
procedure Nietzsche and documentary research on the history of security institutions, or
rather, the security-military thinking , greatly Brazilian army. It is, in Book II, therefore,
to follow the history of these institutions and their adherence or not to book ontology I.
In Book III, in turn, began to investigate the police-military education and general lines
an understanding of police-military educational process to give scope to the idea of a
precise scientific object or set to public safety sciences, then described in Book IV.
Therefore, a sequence of arguments juxtaposition we rely, first, in the ontology; later, in
the institutional history of military thought followed by their educational practice
scoped to the object "security," to bring in the book IV, an introductory proposal of
"public safety sciences," trying to understand their epistemological foundations founded
on epistemology Virtue Ernst Sosa (2013) and also moral, established and reading in
orthopraxis military values. In short, it is investigating the possibility of understanding
security, and its structural affection for the man, as an object of knowledge of police
institutions with scientific status, which is founded first and foremost, the year of the
first science, philosophy and its offer of elucidating the problem of evil cogent to man
and consequently the whole social body, read, since the front pages through an analysis
of Hobbes. It is based, in general, still, reading the police not only as reassuring
institution and guarantee rights in democracy, insist as public policies, but also as the
ultimate repository of cohesion and social peace through the systematic use of violence
to "subject Hobbesian "to preserve order, the foundation of social coexistence possible / Este trabalho tem como objetivo fundamentar as ciências policiais analisando,
primeiramente, o afeto sensação de segurança por meio de uma ontologia estruturada
na triangulação entre a insuficiência moral em Pascal, a ciência dos afetos em
Espinosa e a pulsão de morte em Freud: ontologia do abismo . Diante dessa inicial
construção ontoantropológica, realizada no Livro I, traçaremos uma breve genealogia da
instituição policial no Livro II, agora, acostados no procedimento genealógico de
Nietzsche observado por Foucault em sede de normalização e biopolítica e em pesquisa
documental acerca da história das instituições de segurança, ou melhor, do pensamento
militar à segurança, sobremaneira do Exército brasileiro. Trata-se, no Livro II, portanto,
de acompanhar a história dessas instituições e sua aderência, ou não, à ontologia do
Livro I. No Livro III, por sua vez, começamos a investigar a educação policial-militar e
as linhas gerais de uma compreensão de processo educativo policial-militar para dar
escopo à ideia de um objeto científico preciso ou definido às ciências policiais, descritas
então no Livro IV. Portanto, numa sequência de justaposição de argumentos baseamonos,
primeiramente, na ontologia; posteriormente, na história institucional do
pensamento militar seguido de sua prática educativa com escopo ao objeto segurança ,
para trazer, no Livro IV, uma proposta introdutória das ciências policiais , buscando
compreender seus fundamentos epistemológicos fundados na epistemologia da virtude
de Ernst Sosa (2013) e, também, morais, com sede de compreensão e leitura na
ortopráxis dos valores militares. Em suma, trata-se de investigar a possibilidade de
compreender a segurança, e seu afeto estrutural ao homem, como objeto de
conhecimento das instituições policiais com status científico, e que se funda antes de
mais nada, no exercício da ciência primeira, a filosofia, e sua oferta de elucidação ao
problema do mal cogente ao homem e consequentemente a todo corpo social, lido, já
nas primeiras páginas através de uma análise em Hobbes. Assenta-se, em caráter geral,
ainda, na leitura das polícias não somente como instituição asseguradora e garantia de
direitos na democracia, como insistem as políticas públicas, mas também como
repositório último da coesão e paz social mediante o uso sistemático da violência ao
sujeito hobbesiano para preservação da ordem, o fundamento da convivência social
possível
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The power of negativity and its functioning in the metafictional text through five works : vladimir Nabokov’s Pale Fire, John Barth’s Coming Soon!!!, Graham Swift’s Waterland, Robert Coover’s Gerald’s Party and Don DeLillo’s White Noise. / Le pouvoir de la négativité et son fonctionnement dans le texte métafictionnel à travers cinq œuvres : pale Fire par Vladimir Nabokov, Coming Soon!!! par John Barth, Waterland par Graham Swift, Gerald’s Party par Robert Coover et White Noise par Don Delillo.Bouraoui, Jihene 27 October 2012 (has links)
La thèse se donne comme objectif l’appréhension des catégories de la négativité dans le texte métafictionnel en tant qu’une force libératrice et transformatrice qui, à la fois, assure la survie du texte malgré son aspect fragmentaire et multidirectionnel, et pousse le lecteur à s’engager dans une quête de l’insensé et du paradoxal qui n’embarque pas sur le nihilisme ‘négatif’, mais aboutit plutôt à la découverte de la face cachée constructive de la négativité, qu’est l’autocréation. Pour mener un tel projet, un assemblage littéraire de cinq œuvres disparates- Pale Fire par Vladimir Nabokov, Coming Soon!!! par John Barth, Waterland par Graham Swift , Gerald’s Party par Robert Coover et White Noise par Don Delillo- sert de terrain propice au travail de la négativité qui consiste essentiellement à démystifier et détruire des systèmes clos d’origine métaphysique et construire de nouveaux systèmes de valeurs, sans aucune prétention ou aspiration à la transcendance et la suprématie. Pour comprendre l’économie d’un tel texte, on va suivre trois étapes dont chacune correspond à une partie de la thèse : « L’éthique du texte métafictionnel », « L’esthétique du texte métafictionnel » et « La politique du texte métafictionnel ». La première partie s’engage à dégager l’ensemble d’impératifs éthiques qui mettent en œuvre la force de négativité. La deuxième partie s’engage à étudier les techniques de narration et d’écriture mises en œuvre pour activer les impératifs éthiques. La troisième partie s’engage à explorer la faisabilité et les limites des principes que l’on peut se construire en s’appropriant la négativité du texte. Le processus mis en œuvre dans les trois parties de la thèse est marqué par un combat perpetuel qui démontre l’aspect fallacieux et artificiel des construits et prouve, paradoxalement, notre incapacité de s’en passer pour exister. / The dissertation addresses the challenge to think the power of negativity and its ultimate constructive objective. It launches an enterprise, both at the textual and extratexual levels, that requires the individual to destroy and create at once, without any pretention to establish an everlasting system that dictates the encoding and decoding of thoughts and perception and management of cognitive, bodily and everyday life needs. Such an enterprise is based on the consideration of a literary assemblage of five novels: Vladimir Nabokov’s Pale Fire, John Barth’s Coming Soon!!!, Graham Swift’s Waterland, Robert Coover’s Gerald’s Party and Don Delillo’s White Noise. It demonstrates that the text is governed by an economy that does not embark on « negative » nihilism; it is rather an economy that transforms the unproductive forms (abyss, loss, spectre, madness, excess, death) into a capacity for resistance and a creative departure. It is an economy that sustains the text and prevents it from collapsing, through a set of ethical imperatives, a poetics of self-creation and a politics whose objective is not to resolve the paradoxes underlying the text. Throughout the three part of the dissertation, there is a continuous struggle to unveil the constructs and to explain the rationale behind our unavoidable need for them to keep going.
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Řízení robotu pro průzkum pod vodou / Control of underwater exploring robotVálek, Zdeněk January 2013 (has links)
This diploma thesis is dealing with design of explorative robot named Gloin, which is designed especially for the exploration and mapping of the underwater part of Hranická propast, which is the second deepest fresh-water abbys in the world. This thesis is concentrating on design of algorithms needed for control and navigation of robot in the abyss. The designed algorithms are verified by simulation.
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Levande men obetydlig : En analys av kosmisk skräck i H.P. Lovecrafts författarskap / Alive but Insignificant : An Analysis of Cosmic Horror in H.P. Lovecraft's WritingJidah, Abraham January 2024 (has links)
My essay is called “Alive but Insignificant: An Analysis of Cosmic Horror in H.P. Lovecraft’s Writing”. Howard Phillips Lovecraft has written many short stories surrounding the idea of “cosmic horror”. In this essay I seek to investigate how this cosmic horror works and what connections it has to occultism by analyzing six of his short stories: The Call of Cthulhu, The Colour Out of Space, The Dream Quest of Unknown Kadath, The Haunter of The Dark, The Nameless City and Nyarlathotep. In the essay I use sources that show Lovecraft’s biography and letters to build an idea of how he might have been thinking when writing and in the theory segment I bring up the sublime to show what “cosmic horror” means when analyzing Lovecraft. I analyze the stories based on three categories: The Fear of Cosmos, The Fear of The Occult and The Fear of The Abyss. In the second to last segment called discussion I got through everything that I have found through my analysis: Within The Fear of Cosmos, I analyze The Colour Out of Space, Nyarlathotep and The Dream Quest of Unknown Kadath to find that the fear comes from the idea that there is a force somewhere out in space that can destroy humanity on a whim and humans have no way of stopping it. Within The Fear of The Occult, I analyze the Cthulhucult in The Call of Cthulhu by bringing up Lovecraft’s connections to occultism and potential connections to Helena Blavatsky. To enforce the connection between Lovecraft and Blavatsky I use a quote from Haunter of The Dark that presents a book that Blavatsky has ties to. There I find that the fear comes from the idea that a malevolent monster is whispering in the ears of people, encouraging them to commit horrific acts and to abandon their humanity in its name. In The Fear of The Abyss, I analyze The Nameless City and The Call of Cthulhu to find that the fear comes from the idea that there is a powerful and horrifying monster sleeping somewhere under the earth and the ocean, waiting for the right time to awaken and come out of hiding, all while humanity is unaware of it. In the very last segment I go through some comments regarding the essay, where I share my biggest problems with Lovecraft and why certain parts of the essay was cut out.
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Penser l'existence de vie dans les profondeurs marines au XIXe siècle : entre abîme impossible et origine du vivant (1804-1885) / Thinking the existence of life in the marine depths in the 19th century : from an impossible abyss to the origin of life (1804-1885)Péton, Loïc 05 January 2016 (has links)
Abîme : gouffre, enfer, chaos. En marge de la civilisation occidentale, ténébreuses et dévalorisées, les profondeurs marines furent pensées et expérimentées au cours du XIXe siècle. Sur le pont du navire, le naturaliste s’appropriait les techniques de pêche et fouillait les antres d'un univers obscur pour récolter une faune méconnue.Cette thèse démontre l'importance de diverses influences, provenant de contextes différents, qui modelaient les théories au sujet de l'existence de vie dans cet univers. L'idée d'une vie limitée, à partir d'un certain niveau de profondeur, domina, notamment avec la théorie azoïque (1843) du Britannique Edward Forbes (1815-1854). Selon nous, elle formait un horizon ultime, telle une finitude anthropomorphique appliquée à la répartition des animaux. Par la suite, la représentation d'une vie présente en tous lieux – une « vie triomphante » – la remplaça au cours de la décennie 1860 pour former la base de notre savoir actuel, à un moment où l'abîme était perçu tel un antre du passé hébergeant des « fossiles-vivants ». Ces représentations constituaient les réverbérations d'une culture et d'intérêts que nous explicitons.Ce travail révèle également une focalisation des savants sur certains objets, comme le fond marin, repère fixe perçu par un filtre terrestre couplé à une analogie avec l'altitude. Le visage bathymétrique de l'océan profond se dessinait alors, tandis que le câble télégraphique devenait une interface de renouveau pour le savoir propre à l'abîme. Une volonté d'ériger un panorama absolu de l'océan parcourait cette période, cela par une extrapolation horizontale (toutes mers) et verticale (toutes profondeurs) de quelques observations relevées. / Abyss : chasm, hell, chaos. On the fringe of the western civilization, the marine depths were regarded as impenetrable and were depreciated before being studied during the 19th century. At sea, the naturalist took over fishing techniques and rummaged through a dark universe to collect an unknown fauna.This thesis shows the importance of the various influences that shaped the scientific theories about the existence of life in the abyss.The idea of a limit for marine life, beneath a given depth, dominated, notably using the azoic theory (1843) of the British Edward Forbes (1815-1854). According to us, this theory was a “final horizon”, that is to say an anthropomorphic finitude placed on the animal distribution. Later, the representation of a life inhabiting every place – a “triumphant life” – replaced it during the 1860s to form the basis of our current knowledge, at a time when the abyss was regarded as a “lair of the past” containing “living-fossils”. These representations were reflections of a culture and of interests.This work also reveals that the scientists focused on some objects like the seabed, which was a fixed mark considered through a terrestrial view linked to an analogy with altitude. The bathymetric face of the ocean emerged while the submarine cable became an “interface of revival” for the knowledge about the abyss. The will to design an “absolute panorama” of the ocean was present in this period, using horizontal (every sea) and vertical (every depth) extrapolations from a few facts.
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Meningsskapande genom existentiell kultur vid barndomstrauma : En undersökning av hur de med barndomstrauma ofta dissocierar och upplever djupare meningsskapande och dess läkande effekter / Meaning-making through existential culture following childhood trauma : An examination of how childhood trauma often leads to dissociation and a deeper experience of meaning-making and its healing effectsVargvinge, Amanda January 2023 (has links)
Syftet med den här uppsats är att undersöka varför människor med barndomstrauma kan finna mytologiska symboliska berättelser i existentiell kultur läkande. De frågor som ställs är: På vilket sätt kan berättelser om superhjältar ge ökad förståelse om barndomstrauma, både för de som själva upplevt det, samt de som inte upplevt det? Hur kan berättelser om superhjältar verka psykiskt läkande vid barndomstrauma? Vilken betydelse har känslor i läkandeprocessen av barndomstrauma? Material som använts är TV-serien Moon Knight och kommentarer från YouTube. Teoretiska perspektiv som används är positiva psykologiska teorier, John P. Wilsons avgrundupplevelse och Viktor Frankls viljan till mening samt analytiska teorier om filmtolkning och hur det digitala samhället kan ge en existentiell kontext, med Jung, Tilander och Duppils forskning. Metoden som använts är grundad teori (GT). Tidigare forskning har visat ett samband mellan meningsskapande och populärkultur, främst berättelser om superhjältar, likaså de psykiskt läkande effekter film och TV-serier kan ha. Barndomstrauma har visat både negativa risker och positiva aspekter och har stor psykisk inverkan även i vuxen ålder. Den här uppsatsen visar ett samband mellan barndomstrauma och en ökad förmåga, förståelse, begär och upplevelse av existentiellt meningsskapande från mytologiska symboliska budskap från populärkultur, i uppsatsen benämns det existentiell kultur som även förklaras närmre. Det ger psykiskt läkande effekter och bidrar till välbefinnande och själslig helhet som kan jämföras med det som kan upplevas i religiösa sammanhang. Dessa resultat är viktiga eftersom barndomstrauma och meningsskapande i populärkultur är relativt outforskade områden men som kan komma till hjälp för barn och vuxna som upplevt barndomstrauma. Det blir ett sätt att både förstå och hjälpa dessa, likaså ett sätt för dem att enklare förstå sig själva för att sedan kunna läka och finna välbefinnande. / The aim of this paper is to investigate why people with childhood trauma can find mythological symbolic stories in existential culture healing. Questions asked: In what way can stories about superheroes provide increased understanding about childhood trauma, both for those who have experienced it themselves, as well as those who have not? How can stories about superheroes have a psychological healing effect following childhood trauma? What is the importance of emotions in the healing process of childhood trauma? Materials used are the TV series Moon Knight and comments from YouTube. Theoretical perspectives used are positive psychological theories, John P. Wilson's the abyss experience and Viktor Frankl's will to meaning as well as analytical theories about film interpretation and how the digital society can provide an existential context with Jung, Tilander, and Duppils’ research. The method used is grounded theory (GT). Previous research has shown a connection between meaning-making and popular culture, mainly stories about superheroes, as well as the psychological healing effects from films and TV series. Childhood trauma has shown both negative risks and positive aspects and has a large psychological impact even in adulthood. This paper shows a connection between childhood trauma and an increase in ability, understanding, desire and experience of existential meaning-making from mythological symbolic messages from popular culture, called existential culture in this paper, a term that will be explained. It provides psychological healing effects and contributes to well-being and a spiritual wholeness that can be compared to some religious experiences. These findings are important because childhood trauma and meaning-making in popular culture are relatively unexplored areas but can be helpful for children and adults who have experienced childhood trauma. It becomes a way to both understand and help these, as well as a way for them to understand themselves more easily, to heal and find an inner peace.
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Borges, le poète, ou le miroir universel du monde / Borges, the poet, or the universal mirror of the worldSpychiger, Delphine Aimée 06 June 2014 (has links)
L’étude que nous avons consacrée à la Antología poética 1923-1977 permet de mettre en lumière l’art poétique de Jorge Luis Borges ainsi que d’observer attentivement la dimension spéculaire et la portée universelle de sa poésie. Elle condense, reflète, et nous fait appréhender l’essence du monde dans toute la gamme de ses infinies richesses ainsi que de ses insondables mystères qui hantent la réflexion métaphysique de l’humanité depuis des temps immémoriaux. Nous dégageons, tout particulièrement, nombre de convergences des plus frappantes entre les principaux thèmes borgésiens et les thèses majeures du philosophe Arthur Schopenhauer. Borges emploie, à l’évidence, tout son génie, tout son art de la perplexité et de l’ironie, à façonner subtilement un miroir poétique de la pensée de ce grand maître qu’il vénère tant. Nous constatons, en effet, que la poésie borgésienne, non seulement nous fait prendre conscience de notre perpétuelle et irrémédiable condamnation aux illusions et aux représentations, mais encore tente de relever le défi du dépassement des illusions, d’un accès à un au-delà de la représentation. Sous de multiples aspects kaléidoscopiques de l’Autre (un sablier, un jardin, une bibliothèque, un château, un rêve, la pensée humaine, l’individu, l’écriture, le temps…), c’est en réalité toujours le mythe de l’Eternel Retour du Labyrinthe qui revient sous sa plume. Comment ce mythe ― à la fois personnel et impersonnel ― que Borges a patiemment forgé, tout au long de sa vie, a-t-il pu connaître une remarquable diffusion planétaire et le conduire à être couronné par la gloire de son vivant ? Telle est l’ultime question à laquelle nous tâchons de répondre au terme de notre réflexion. / The study that we dedicated to the Antología Poética 1923-1977 allows to bring out the poetical art of Jorge Luis Borges as well as to observe in a careful way the speculiar dimension and the universal scope of his poetry. It condenses, reflects and enables us to apprehend the essence of the world in the whole range of infinite riches, as well as the unfathomable mysteries which have haunted the metaphysical reflexion of humanity from time immemorial. We bring out, in particular, a fair number of the most striking convergences between the main themes of Borges the poet and the major thesis of Arthur Schopenhauer the philosopher. It is obvious that Borges uses all his genius, all his art of perplexity and irony to shape, in a subtle way, a poetical mirror of the thinking of this great master that he venerates so much. Not only do we notice that the poetry of Borges enables us to be aware of our perpetual and irreparable condemnation to illusions and representations, but it also tries to take up the challenge of surpassing the illusions, of an access to the beyond of representation. Under numerous kaleidoscopic aspects of the Other (a sandglass, a garden, a library, a castle, a dream, the human thought, the individual, writing, time…), in fact it is always the myth of the Eternal Return of the Labyrinth which comes back under his pen. How can this myth – both personal and impersonal – (patiently forged by Borges all along his life) have met such a remarkable worldwide diffusion and have led him to be crowned by glory in his lifetime? This is the final question we will try to carry through.
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Laut, Ton, StärkeSchreiner, Florian 03 May 2010 (has links)
Historisch wird die Arbeit von zwei Daten her begrenzt, von den ersten hör-physiologischen Experimenten seit 1850, und von den massenwirksamen akustischen Inszenierungen der 1930er Jahre in „real auditory perspective“. Die Arbeit beginnt in Kapitel I mit dem tragischen Fall des Regisseurs und langjährigen Psychiatrie-Patienten Antonin Artaud, der die Sprache zugunsten von Lauten, Gebärden und Schreien verlässt. Seine Experimente zum Theater geben zu einer ersten Korrektur von Bildlichkeit Anlass. In Kapitel II wird der Vorrang der Bildlichkeit grundsätzlich in Frage gestellt, die Differenz von Bild und Klang wissenschaftshistorisch auseinandergesetzt, und ein „acoustic turn“ zur Welt vorbereitet. Die Untersuchungen des Physiologen und Akustikers Hermann von Helmholtz sind hier maßgeblich, denn sie beeinflussen die Technische Akustik von ihren Anfängen her. Das Kapitel III schließlich untersucht im transatlantischen Vergleich die technischen Bedingungen nach 1900. Die Beschallungsanlage hat nun die Fähigkeit, alltäglich in den Dienst genommen zu werden, und auch politischen Manipulationen diensthaft zu sein. / Historically the work is framed by two dates, by the physiological experiments of hearing and the mise en scène of a massed and sonic attack in so called „real auditory perspective“ of the 1930s. The first chapter starts with the tragedic and long living psychiatric case Antonin Artaud, who moves away from clarity of sounds to phones, gestures and crying. Such experiments give cause for a fundamental rethinking of meaning in the sense of picture, and leads to the second chapter which argues in more detail for the lap of our sonic understanding of the world. This way speeds up to an „acoutic turn“ by a retour to the biological grounds of sonic perception. The physiological and acoustic inquiries of Hermann von Helmholtz fit here to the ground for him being starting point of what will later be called „technische Akustik“. The third chapter bridges Europe´s early Telefunken-years with the United States and their chief acousticians at the legendary Bell Laboratories, and seeks finally for light in scientific amnesia against progress and control, or what the germans call „Betriebsamkeit“ and „Gestell.“ (Heidegger)
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A promise kept: the mystical reach through lossCollins, Jody 04 October 2019 (has links)
The meaning of loss is love. I know this through attention to experience. Whether loss or love is experienced in abundance or in absence, the meaning is mystical with an opening of body, mind, heart and soul to spirit. And so, in the style of a memoir, in the way of contemplative prayer, I contemplate and share my soul as a promise kept in the mystical reach through loss. With the first, initiating loss, the loss of my nine-year-old nephew, Caleb, I experience an epiphany that gives me spiritual instructions that will not be ignored. I experience loss as an abundance of meaning that comes to me as gnosis, as “knowledge of the heart” according to Elaine Pagels or divine revelation in what Evelyn Underhill calls mystical illumination in the experience of “losing-to-find” in union with the divine. Then, with gnostic import, in leaving the ordinary for the extraordinary, I enter the empty room in the painful yet liberating experience of the loss of my self. In the embrace of emptiness, I proceed to the first wall, the second wall, the third wall, the dark corner of denial, the return to centre, and, finally, to breaking the fourth wall in the empty room so as to keep my promise to you. Who are “you”? You are God. You are Caleb. You are spirit. You are my higher soul or self. And, you are the reader. You are my dear companion in silence. And then, through a series of broken promises and more loss, within what John of the Cross calls, “the dark night of the soul,” I am stopped by the ineffability of the dark corner of denial, the horror of separation and the absence of meaning, which is depicted as the grueling gap between the spiritual abyss and the breakthrough. What does it mean to keep going through a solemn succession of losses? I don’t know. In going into the empty room, I simply put pain to work in order to reach you. Through loss, though there are infinite manifestations, there is only one way: keep going. And so, in a triumph of the spirit, I keep going so as to be: a promise kept in the mystical reach through loss. As for you, through my illumined and dark experiences of loss, what is my promise to you? I keep going to reach the unreachable you. In the loss of self, with embodied emptiness, in going into the dark corner of denial, with a return to the divine centre of my emptied self, in an invitation to you, I give my soul to you in union with you. / Graduate / 2020-06-25
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