The surface mine Hambach is located in the west of Germany, close to Cologne and was founded in 1978 from the electric company RWE to dig up brown coal and produce electricity. The mine measures a surface of 8.500ha and a depth of 470 m and was planned to be operated until 2045. After mining RWE plans to recultivate the area with forest, agriculture and a remaining lake of 3900ha. The mine is a site that is out of proportion. This proposal is a composition of interventions in different time and scale aiming to tell the story of soil, water, vegetation, animals and humans. The excavator is a scale figure to these dimensions and becomes the protagonist of the story. On it‘s way down to its final position at the bottom of the pit, it is sculpting the soil one last time. After that last operation nature will take over. Water will find its path and reshape the pattern of the excavator. With water, vegetation comes back and then gives space for animals to live and humans to watch the transition from a colourful desert to a flourishing oasis. This stream of interventions is connecting the pit‘s terraces to a spiral sculpture that over time will fill with water.

The category of life is considered central to the heterogeneous field known as Italian thought or Italian theory. Its centrality helps explain the outsized role that Italian thinkers like Giorgio Agamben, Rosi Braidotti, Roberto Esposito, and Toni Negri play in international conceptualizations of biopolitics. Scholars have attempted to trace the roots of this emphasis on life back to thinkers such as Vico and Croce, Italian Marxist traditions such as workerism, “imports” like Heideggerian ontology and Foucauldian critique, and even Italy’s geography. These histories fail to interrogate the paradox that Italian thought usually deals with life in abstract terms, rather than with real, embodied lives. Styles of Existence, Italy 1961–1982 offers an alternative genealogy of Italian thought that focuses on the role that philology played in transforming conceptions of life and self in postwar Italy. It argues that the poet and filmmaker Pier Paolo Pasolini and art critic and feminist Carla Lonzi show us what living looks like by applying the tools and concepts of interpretation and criticism they acquired as artists and critics to their own lives. It makes the case for their inclusion in the unofficial canon of Italian thought, and for acknowledging the debts that later philosophical treatments of life owe to Pasolini and Lonzi’s existential attempts to overcome the distance between theory and praxis. Pasolini and Lonzi, both well-known for their polemical contributions to debates about politics, gender, and sexuality in Italy’s long 1968, are discussed here together for the first time. Styles of Existence lays out the theoretical tenets, preferred methodologies, and historical arcs of their life philologies, tracing them across an array of sources including diaries, screenplays, television talk shows, and newspaper columns. Both authors’ projects are examined from a comparatist perspective, which means that they are situated in Pasolini and Lonzi’s cultural and discursive contexts as Marxist and feminist intellectuals, respectively, and in relation to contemporaneous domestic and international trends and debates. Responding to a request by Pasolini that his works be read philologically, chapter one proposes a philological rereading of his corpus that takes into account his love for space and dedication to the irrational. Proposing the notion of “lunar hermeneutics” as a conceptual frame, it demonstrates that Pasolini incorporates tools from philology and stylistic criticism in his social critique and filmmaking in response to changing global and national political landscapes in the late 1950s and early 1960s, and especially the developments of the space race. Chapter two elaborates the features of Pasolini’s project of “Marxist linguistics” in the mid-1960s as a political answer to rapid industrialization and globalization, demonstrating that Pasolini expands the scope of lunar hermeneutics with contributions from semiotics and insights from his work as a filmmaker. Close readings of Pasolini’s aesthetic writings in Empirismo eretico (1972) and his film Uccellacci e uccellini (1966) illustrate the importance of cinema to his revised theory of language and understanding of self. Chapter three examines Pasolini’s collection of political writings, Scritti corsari (1975), as an example of Auerbachian-inspired Weltliteratur, showing that the work is designed as a philological exercise dedicated to the critical preservation of human forms of life threatened with extinction. Turning to Lonzi, chapter four provides the first theoretical and historical account of autocoscienza or self-consciousness making, the feminist, relational practice that Lonzi developed with other members of the group Rivolta femminile in the early 1970s. Lonzi formulates autocoscienza as a subversive mediation of critical and postcolonial theory as well as of modern art, and envisions an “unforeseen subject” who refuses to comply with the misogyny and inequalities inherent to prevailing models of liberational subjectivity. Chapter five reassesses Lonzi’s rejection of Hegelian and psychoanalytic theories of recognition, and her engagement with Alexander Kojève’s anthropomorphizing rendition of Hegel, to argue that autocoscienza provides its own affirmative feminist theory and practice of recognition focused on listening and responsiveness among equals. Chapter six considers the diary’s central role in Lonzi’s philological project of self by linking it to autocoscienza and her theory of clitorality. It argues that the sexed dimension of autocoscienza is what makes viable a transition from theory to praxis, and from emphasis on the collective to the self. By focusing on the diary, it restores the contributions of “Sara,” another Rivolta member, and the influence of hagiographical writings on Lonzi’s conception of female freedom. Finally, chapter seven unearths Lonzi’s obsessive “dialogue” with Pasolini in her “feminist diary” Taci, anzi parla [Hush, No Speak] (1978) as a case study in the practice of autocoscienza. Lonzi’s disagreements with Pasolini about culture, sexuality, and women’s rights, and their largely overlapping views on freedom and expression, are situated in the context of Italian debates about abortion in the mid-1970s. This chapter argues that Lonzi’s relation to Pasolini transforms her understanding of self and helps her refine and recalibrate the goals of autocoscienza. In conceiving of the self and selfhood in philological rather than philosophical terms, Pasolini and Lonzi challenge theories of the subject predominant in critical theory and offer precursors to contemporary concepts like Agamben’s homo sacer. Their aesthetics of existence require a reconsideration of the scope of philology in the twentieth century, the parameters of political theory, the legacy and historiography of Italy’s long ’68, and our understanding of what it means to live a meaningful human life. The detailed recovery of Lonzi’s intensive engagement with Pasolini and his work, finally, points to an unlikely source of influence on radical Italian feminism.

No description available.

This thesis confronts the possibility of an architecture which limits and reveals, freedom for a way to live, for the activities of man which are vital to a good life. An architecture which is investigated and projected through making. Architecture Separates and makes Distinct, while finding meaningful connection. The work of drawing here attempts to project an architecture which is vital to man, by providing a connection to the activities of Man, in which the spirit of their beginning is recaptured and renewed through a reimagining of the Institutions of Man. Where a sense of Wonder is imperative, and the sense of the eternal in architecture is cultivated. One where a renewal is possible and sense of the cosmos is more evident. On the Threshold of 'Where the desire to express meets the possible' (Kahn) using architectural form. Awareness What is the form? Beginning with the room / Master of Architecture

Tableau d’honneur de la Faculté des études supérieures et postdoctorales, 2007-2008. / Il est ici proposé d'aborder le scénario de film selon une esthétique subjectiviste inspirée des travaux de Nelson Goodman et de Gérard Genette. En introduisant le texte scénaristique dans le champ plus vaste des théories de l'art, il sera ainsi possible d'échapper à l'habituelle tendance dichotomique qui caractérise sa critique et qui, tantôt le réduit au statut de simple « outil » du film, tantôt élève son autonomie textuelle au rang de véritable genre littéraire. Selon la perspective ici adoptée, le scénario sera plutôt considéré comme « objet esthétique ». Étant une forme textuelle investie du « désir » de passer à une autre forme d'expression, le scénario s'inscrit nécessairement dans le devenir esthétique d'une œuvre. Pris isolément comme objet d'« attention aspectuelle », se pourrait-il alors que les effets esthétiques qu'il détermine soient similaires à ceux engendrés par ces autres œuvres saisies dans leur devenir, les œuvres d'art dites « inachevées » ? Cette réflexion sur le nonfinito de l'écriture du film sera notamment balisée par la théorie du scénario de Pier Paolo Pasolini, mais aussi par l'étude de son œuvre scénaristique.

No description available.

It all began in the village. We would wake up with the sun, we would rest our laboured bodies underneath the moon. Gli vecchi (old folks) often told us: “In the end, all that will remain is our story. Nothing else really matters.” This thesis “Awakening the Calabrian Story: The Diverse Manifestations of Acquiring Knowledge” will take you into the lives of ten Southern Italian women from Calabria. They will lure you back to their villages: their place of birth, their hearth, to the midst of the olive trees. Their stories will then migrate to Canada, as these women take their first steps on Pier 21. “In the end, all that matters is our stories.” This thesis will give voice to ten Southern Italian women who will tell the world what, to them, matters most. They will tell their tales and pass on the wisdom they have learned along the way. With each breath and each step, they are always growing, never remaining the same. They go along and live out their villages wherever the thread takes them. This thesis itinerary will begin in the village, follow a journey across the Atlantic Ocean to a life in Canada. Chapter One: (Introduction) will outline and describe the background, purpose and objectives, on this journey of awakening. Chapter Two: (Literature Review) will look at pedagogical perspectives in curriculum theory. Chapter Three: (Methodology) will focus on the research methodology applied throughout this thesis process. Chapter Four: (Stories as Data) will lure readers into the personal lives and experiences of participants. Chapter Five: (Interpretation of Stories) will reveal the analysis of acquired knowledge as reported by participants. This thesis itinerary will continue and conclude by the fireside with a collection of Calabrian folktales told by these participants, and translated from the Calabrian dialect into English.

It all began in the village. We would wake up with the sun, we would rest our laboured bodies underneath the moon. Gli vecchi (old folks) often told us: “In the end, all that will remain is our story. Nothing else really matters.” This thesis “Awakening the Calabrian Story: The Diverse Manifestations of Acquiring Knowledge” will take you into the lives of ten Southern Italian women from Calabria. They will lure you back to their villages: their place of birth, their hearth, to the midst of the olive trees. Their stories will then migrate to Canada, as these women take their first steps on Pier 21. “In the end, all that matters is our stories.” This thesis will give voice to ten Southern Italian women who will tell the world what, to them, matters most. They will tell their tales and pass on the wisdom they have learned along the way. With each breath and each step, they are always growing, never remaining the same. They go along and live out their villages wherever the thread takes them. This thesis itinerary will begin in the village, follow a journey across the Atlantic Ocean to a life in Canada. Chapter One: (Introduction) will outline and describe the background, purpose and objectives, on this journey of awakening. Chapter Two: (Literature Review) will look at pedagogical perspectives in curriculum theory. Chapter Three: (Methodology) will focus on the research methodology applied throughout this thesis process. Chapter Four: (Stories as Data) will lure readers into the personal lives and experiences of participants. Chapter Five: (Interpretation of Stories) will reveal the analysis of acquired knowledge as reported by participants. This thesis itinerary will continue and conclude by the fireside with a collection of Calabrian folktales told by these participants, and translated from the Calabrian dialect into English.

No description available.

No description available.