I'm working with photographs of Sigmund Freud's apartment and creating their pseudo reconstruction. I'm trying through technique of linocut uncover light from black and white photos taken by documentarist Edmund Engelman in Vienna in 1938. I'm revealing volumes of individual fragments, which light falls on. Exposed light I keep for myself, for some melancholy reasons, and store it in glass jars. It is negative and final linocut represents positive. Atmosphere of pictures from Edmund Engelman's book has a big influence on me as well as Robert Longo's cycle Freud Drawings. Their atmosphere is catalyst for my own art solution.

Schlesische Modernität um 1930 wird an zwei Breslauer Komponisten untersucht: Hans Zielowsky und Edmund von Borck. Von ihrer Herkunft und Ausbildung her könnten sie kaum unterschiedlicher sein, und so stecken sie Endpunkte ab, zwischen denen sich das Komponieren Breslauer Musiker der Zeit abspielte. Der eine, Zielowsky, schreibt mit anrührendem Dilettantismus, der andere, von Borck, mit bewundernswerter stilistischer Unabhängigkeit und mit großem handwerklichen Geschick. Der eine gelangt mit den meist kleinen Besetzungen seiner Werke kaum übers Private hinaus, der andere konzentriert sich dagegen auf das Schreiben von Orchesterliteratur. Dennoch ist ihnen etwas gemeinsam: die Orientierung an einer auf je eigene Weise verstandenen Linearität und die Verehrung sowie das Maßnehmen an Bruckner. In dem Beitrag wird die spezifische Bruckner-Rezeption untersucht unter Bezugnahme auf die damals neuartige Musiktheorie.

Geschildert wird das einstige Dorfleben in Lotzdorf um die 1930er Jahre mit historisch belegten Händlern und Gewerbetreibenden, zu denen auch der Kräutersammler und Hausierer Kalmus-Mann gehörte, dessen wahre Identität erst durch Forschungen zu diesem Artikel bekannt wurde. Er hieß Max Hauffe, zum Außenseiter geworden durch traumatische Kriegserlebnisse im Ersten Weltkrieg, war er aus der Bahn geworfen worden und endete tragisch.

Исследование посвящено изучение роли понятия империя в исторических работах Эдмунда Бёрка. В ходе изучения темы была применена методология Кембриджской истории по помещению текста в интеллектуальный контекст времени. Источниками для работы стали ряд публицистических произведений британского публициста, а также его эпистолярное наследие. Результатом работы стало выделение представления Бёрка о империи и том как она должна выглядеть в XVIII в. / This study explores the role of the concept of empire in the historical writings of Edmund Burke. In the course of the study the methodology of Cambridge History of placing the text in the intellectual context of time was applied. The sources for the work were a number of publicistic works of the British publicist, as well as his epistolary heritage. The result of the work was the highlighting of Burke's view of the empire and how it should look like in the eighteenth century.

In his Book of the Courtier, Castiglione appeals to the Renaissance notion of self-fashioning, the idea that individuals could shape their identity rather than relying solely on the influence of external factors such as birth, social class, or fate. While other early modern authors explore the practice of self-fashioning—Niccolò Machiavelli, for example, surveys numerous princes identifying ways they have molded themselves—Castiglione emphasizes the necessity of modeling one's-self after a variety of sources, "[taking] various qualities now from one man and now from another." In this way, Castiglione advocates for a self-fashioning grounded in a discriminating kind of synthesis, the generation of a new ideal form through the selective combination of various source materials. While Castiglione focuses on the moves necessary for an individual to fashion himself through this act of discriminatory mimesis, his views can explain the ways authors of the period use source material in the process of textual production. As poets and playwrights fashioned their texts, they did so by consciously combining various source materials in order to create not individuals, as Castiglione suggests, but characters to represent new cultural ideals and values. Early moderns viewed the process of textual, as well as cultural production, as a kind of synthesis. Creation through textual fusion is particularly common in early modern accounts of the heroic, in which authors synthesize classical conceptions of the hero, which privilege the completion of martial feats, and Christian notions of the heroic, based on the contemplative nature of Christ. In this dissertation, I demonstrate how Thomas Kyd in The Spanish Tragedy (1585), Edmund Spenser in The Faerie Queene (1590), William Shakespeare in Titus Andronicus (1594), and John Milton in A Mask Presented at Ludlow Castle (1632) syncretized classical and Christian notions of the heroic ideal in order to comment upon and shape political, social, and literary discourses. By recognizing this fusion of classical heroism with contemplative heroism, we gain a more nuanced understanding of the reception of classical ideas within an increasingly secular society.

This dissertation centers around the impact that geology and its ideas had on nineteenth writers just as it was defining itself from other natural sciences. Geological questions about how rocks and dirt were formed, where they came from, and what kinds of forces act on them are at the heart of the texts I engage here: the writings of Orra White Hitchcock in her travel journals, Emily Dickinson, Edmund Ruffin, and Charles W. Chesnutt; along with the stories told about spirits who inhabit bodies of water in South Carolina, and the illustrations and paintings of Orra Hitchcock. The central concept that the dissertation explores is geopoetics: the modelling of literary and artistic form on geologic processes. In its formal strategies, geopoetic writing aims to establish relationships, explicitly or implicitly, between many changing conditions and across many different temporal moments, all at once. As geologists and average people alike struggled to understand the place of the human in developing theories of how the planet was formed and reformed, the writers I engage here used these theories in their own texts as models for thinking about a series of relationships, both between persons and between humans and the nonhuman world. Though informed by geological research and ideas, geopoetics are not the static transposition of geology’s theories onto the texts I engage with here. Instead, these texts are the means by which their writers explore geologic ideas and the longue dureé natural processes that shape them. Geopoetics occur when an author’s writing strategy recalls the connections between natural and human-made networks in its form, by creating an interplay of literary or poetic structure and geologic imagery. What I mean by this is that the majority of these texts don’t simply feature allusions to geologic features, but, as I show, fundamentally engage with understandings of geological processes in their formal composition. If a volcano in a Dickinson poem, for example, is the vehicle of a metaphor, the volcano doesn’t simply take on the meanings which the metaphor aims to convey. It also causes Dickinson to write in ways that are particularly volcanic – through expansive, oozing analogies that ingest the external world. Hitchcock, Ruffin and Chesnutt, along with believers in bisimbi all make use of the ecosystemic layers that are embodied by rock formations in their writings. For Chesnutt, this looks like the gradual accumulation of conjure stories in his imagination which, though heard when he was a child, come back to retell their stories in his writing as though they had possessed him. In his narratives, conjure stays imbedded in locations throughout his landscapes, catching characters off-guard and radically changing them, sometimes with no clear origin point or conjurer to attribute the spells to. As the above paragraph suggests, Chesnutt, Dickinson, Hitchcock, Ruffin, and tellers of simbi stories each have specific geopoetic strategies with which they explore geologic theories. Subsequently, they each create the interplay of geologic allusion and literary form I describe above in their own, particular ways.

Avec la phénoménologie, naît une nouvelle idée de la raison qui, au-delà de l’alternative du rationalisme et de l’irrationalisme et contre sa réduction kantienne à une faculté, est redéfinie à l’aune de l’expérience qu’elle permet de décrire. Mais la difficulté survient lorsqu’il s’agit d’atteindre la raison de l’expérience sensible elle-même, en son irréductibilité à toute exigence rationnelle - en son caractère particulier, complexe, lacunaire ou indéterminé. Dès lors, à quelles conditions peut-on penser une logique du sensible, sans aussitôt trahir le sensible ou perdre la raison ? Le projet husserlien d’une « logique-du-monde » exige en sa compréhension comme en son renouvellement, une réévaluation des concepts de « raison » et de « sensibilité ». Notre travail consiste donc en l’étude problématique et critique de ces concepts, depuis deux moments de leur déploiement :leur inauguration husserlienne et leur radicalisation lévinassienne. Le choix de ces deux oeuvres a pour intérêt historique de mesurer l’ampleur de l’élargissement phénoménologique de la raison – d’une conception« intellectualiste » de la sensibilité chez Husserl à sa profondeur lévinassienne ; et pour intérêt problématique de mener le problème à son terme et dans ses dernières contrées, là où le sensible n’apparaît plus comme pétri de sens mais dans son irrationalité même, là où la sensibilité n’est plus la saisie perceptive d’une identité mais l’expérience affective radicale d’une exposition à l’altérité. C’est donc en sa fondamentale équivocité que la sensibilité doit se faire le lieu d’une épreuve renouvelée de la raison, le principe critique de la rationalité mobilisée par sa description. / A new idea of reason was born with phenomenology. Beyond the opposition between rationalism andirrationalism, and against its Kantian reduction to a faculty, reason is redefined in the light of the experiencethat it enables to describe. But the difficulty arises when we attempt to reach the rationality of the sensibleexperience itself, in its own irreducibility to the demands of reason - in its irreducible peculiarity, complexity,lack and indetermination. Under which conditions can we think a logic of the sensible without betrayingsensibility or compromising reason? Husserl’s project of a “logic-of-the-world” requires, in its understandingas in its renewal, a reevaluation of the concepts of “reason” and “sensibility”. This dissertation consists in acritical study of these concepts, from these two main moments of their unfolding: their Husserlian inaugurationand their Levinassian radicalization. From a historical point of view, this choice enables us to assess thisphenomenological extension of reason - from an intellectual conception of sensibility in Husserl, to itsLevinassian depth. From a problematical point of view, this choice enables us to lead the problem to its finalterms, where the sensible is not made of meaning anymore, but appears in its very irrationality - whensensibility is not the perceptive grasp of an identity, but an affective exposure to otherness. Thought in itsfundamental equivocity, sensibility must be the place of a renewed challenge of reason, the critical principle ofthe rationality used by its description.

By examining Renaissance criticism both literary and musical, framed in the context of the contemporaneous obsession with the works of Plato, Aristotle, and Horace, among others, this thesis identifies the parallels in poetic and musical practices of the time that coalesce to form a unified idea about the poet-as-singer, and his role in society. Edmund Spenser and John Milton, who both, in various ways, lived in periods of upheaval, identified themselves as the poet-singer, and comprehending their poetry in the context of this idea is essential to a fuller appreciation thereof. The first chapter addresses the role that the study of rhetoric and the power of oratory played in shaping attitudes about poetry, and how the importance of sound, of an innate musicality to poetry, was pivotal in the turn from quantitative to accentual-syllabic verse. In addition, the philosophical idea of music, inherited from antiquity, is explained in order elucidate the significance of “artifice” and “proportion”. With this as a backdrop, the chapters following examine first the work of Spenser, and then of Milton, demonstrating the central role that music played in the composition of their verse. Also significant, in the case of Milton, is the revolution undertaken by the Florentine Camerata around the turn of the seventeenth century, which culminated in the birth of opera. The sources employed by this group of scholars and artists are identical to those which shaped the idea of the poet-as-singer, and analysing their works in tandem yields new insights into those poems which are considered among the finest achievements in English literature.

Although it is generally acknowledged that an Elizabethan grammar school education was intensely oral and aural, few studies have approached the literature of its pupils principally in light of such an understanding. There may be good reason for this paucity, since the reading of textual remains in the hopes of reconstituting sound and movement—particularly in non-dramatic literature—will always, in the end, be confronted by an inaudible and static text. Yet for the Elizabethan schoolboy, composition and performance were inseparable, whether of an epistle, a theme, or a translation of Latin poetry. The purpose of this project is firstly to describe the conditions which led to and ingrained that inseparability, and then offer some readings of the poetry, oratory, and drama of those whose voices and pens were trained in the grammar school, here Merchant Taylors’ School in 1560s London. Edmund Spenser, Lancelot Andrewes, and Thomas Kyd all attended Merchant Taylors’ in this period, and their poetry, sermons, and drama, respectively, are treated in the following discussion. It is argued that their texts reflect the same preoccupation with pronuntiatio et actio, or rhetorical delivery, held by their boyhood schoolmaster, Richard Mulcaster. I suggest that delivery provides a unique way of assessing literature in the context of an oral/aural education, largely because its classical and Renaissance rules invariably stipulate that vocal and gestural modulations must follow the emotional and intentional sense of words rather than their literal meanings. Delivery is thus shown to exist at the nexus of orality and literacy, performance and text, wholly absorbed with the concerns of speech, but distinct from language as well. In imagining the physicality of this middle ground within their narratives, it is proposed that Mulcaster’s students recalled an education very often spent stirring the emotions with and for their bodily expression.

Adoptant la langue des flux et des fluides, la théorie sociologique caractérisent aujourd’hui les acteurs sociaux comme des êtres composites, prédisposés à changer et capables d’agencements feuilletés. Alors que l’importance de la mobilité pour penser et analyser le social contemporain est généralement reconnue, rare sont les travaux qui se consacre à en développer les modalités fondamentales. L’objectif de cette thèse est de développer une approche plus différenciée et gradualiste des mobilités que celle proposée par les principales options théoriques en vigueur, sans pour autant abandonner la dimension fluctuante, non linéaire et imprévisible du mouvement sur laquelle elles attirent l’attention. Qu’est-ce qu’être mobile ?Une théorie de l’expérience, en l’occurrence celle proposée par la phénoménologie, offrirait-elle des ressources critiques susceptibles d’ouvrir à l’approfondissement des mobilités comme elles sont vécues ?À titre d’hypothèse, cette thèse pose qu’un ensemble de phénomènes demeurent énigmatiques à l’intérieur de la conception généralement admise du social contemporain et qu’une articulation plus explicite du thème de la mobilité à celui de l’action humaine permet d’approfondir les processus du déplacement dans l’espace des sociétés, du passage du temps impliqué par le déplacement et du changement social. Comment émerge du nouveau dans le cours d’actions ?Qu’est-ce que pouvoir agir ?Quelle est la source du changement ?À partir d’une enquête inédite sur des voyageurs se rendant quotidiennement à Bruxelles et des personnages de romans de route étatsuniens, l’auteur explore des questions de fond portant sur l’expérience du transport, autour de l’éloignement des choses et des personnes aimées, du vide du temps d’attente, des aléas aussi insignifiants qu’irritants, de l’étrangeté des rencontres, de la décision de prendre la route et de choisir une orientation nouvelle. Ces moments de vacillation sont importants, soutient l’auteur, car ils nous ramènent aux motivations fondamentales et aux buts ultimes de nos déplacements les plus quotidiens. À une époque marquée par un idéal de mouvement fluide et sans accrocs, cette thèse éclaire ce qui se passe dans l’expérience des mobilités. Elle incite à une réflexion sur ce que nous éprouvons sur la route et aux possibles que cette expérience fait émerger. / Doctorat en Sciences politiques et sociales / info:eu-repo/semantics/nonPublished