Secular Millenialism: The Train of Aesthetics from Baumgarten and Kant to Walt Disney and Hitler by Benjamin Bennett combines the perspectives of intellectual history, literary history, and political history in order to illuminate the operation of the idea of aesthetics, and of the historical actualization of that idea, in the background of twentieth-century totalitarianism.

Secular Millenialism: The Train of Aesthetics from Baumgarten and Kant to Walt Disney and Hitler by Benjamin Bennett combines the perspectives of intellectual history, literary history, and political history in order to illuminate the operation of the idea of aesthetics, and of the historical actualization of that idea, in the background of twentieth-century totalitarianism.

In this essay we show how certain tendencies of theself are enhanced and hindered by technologicallyorganized places. We coordinate a cognitive andbehavioral technology for the control of personalidentity with the technologically totalizedenvironments that we call synthetic sites. Weproceed by describing Mihaly Csikszentmihalyi''sstrategy for intensifying experience and organizingthe self. Walt Disney World is then considered as theexample, par excellence, of a synthetic sitethat promotes ordered experience via self-shrinkage. Finally, we reflect briefly on problems andpossibilities of human life lived in (...) a world that canbe described with increasing accuracy as anarchipelago of synthetic sites. (shrink)

Expecting Saving Mr. Banks to be a jolly jaunt about the creative development of the movie Mary Poppins (1964), I found myself waiting endlessly for the “jolliness” to begin—it never did. In fact, rather than joy, there was an ever-present sensation of tension as I watched the film. Having moved house myself in recent days (during a Queensland heat wave), the scenes of the Goff family leaving their home and trekking across hot, dusty Queensland were very emotional. However, seeing the (...) family patriarch Travers Goff (played by Colin Farrell) swig from an alcohol flask in a desperate manner told me that his was no “routine” family move. And, certainly, arriving at their destination—a dilapidated ranch home—shed even more light on the Goff family’s predicament: alcoholism and the cycle of employment and unemployment. Further, it is the downstream consequences of the family predicament that fuel the identity and behaviour of Mary Poppins—a fictional character created by Travers’ daughter, a. (shrink)

Introduction -- Tales of dominion -- The plow and the gun -- Picturing the West, 1883-1893 -- American idol, 1898 -- The end of nature -- African romance -- The dark continent -- When cowboys go to heaven -- Transplanting Africa -- Of ape-men, sex, and cannibal kings -- Adventures in monkeyland -- Nature, the film -- The world scrubbed clean.

A presence for decades in individuals’ everyday life practices and identity formation, the Walt Disney Company has more recently also become an influential element within the "big" curriculum of public and private spaces outside of yet in proximity to formal educational institutions. _Disney, Culture, and Curriculum_ explores the myriad ways that Disney’s curricula and pedagogies manifest in public consciousness, cultural discourses, and the education system. Examining Disney’s historical development and contemporary manifestations, this book critiques and deconstructs (...) its products and perspectives while providing insight into Disney’s operations within popular culture and everyday life in the United States and beyond. The contributors engage with Disney’s curricula and pedagogies in a variety of ways, through critical analysis of Disney films, theme parks, and planned communities, how Disney has been taught and resisted both in and beyond schools, ways in which fans and consumers develop and negotiate their identities with their engagement with Disney, and how race, class, gender, sexuality, and consumerism are constructed through Disney content. Incisive, comprehensive, and highly interdisciplinary, _Disney, Culture, and Curriculum_ extends the discussion of popular culture as curriculum and pedagogy into new avenues by focusing on the affective and ontological aspects of identity development as well as the commodification of social and cultural identities, experiences, and subjectivities. (shrink)

Christophe Bruchansky asks if we’re living in a global themepark. -/- Walt Disney World opened in Florida in 1971. It was the second theme park built by Disney, the first being Disneyland in California in 1955. Disney World is not one theme park, but a group of four theme parks, two water parks, and many hotels, all together in Orlando. It is one of the most visited attractions in the world, and represents far from merely an (...) American phenomenon. Disney theme parks are now located in Paris, Tokyo and Hong Kong, and a new park has recently been announced for Shanghai. But what is a Disney theme park? Is it a utopia? Is it a heterotopia – a concept defined by French philosopher Michel Foucault? Or is it something else? As you will see from this article, understanding Disney World requires a profound reflection on culture, history and reality. (shrink)

In this contribution, I discuss the status of comics particularly through the exemplification of Disney’s Dante parodies, in light of some ideas I take in from aestheticological reflection on improvisational art practices. In particular, L’Inferno di Topolino, the first of the great Italian Disney parodies, is paradigmatic for understanding the character of comics as a metafinational hybrid transmedium, capable of appropriating the contents of literary classics, bringing them to life in relation to the contemporary situation.

Mary Poppins is a magical film and a story of redemption that might be placed alongside the Parable of the Prodigal Son or A Christmas Carol. Mary may be the star of the film, but George Banks is its subject. If the world ever seemed wonderful and filled with surprises for George Banks as a child, it has since been supplanted by a world that is mechanical, predictable, and subject to the demands of business and of propriety. From Jack the (...) Giant Killer people learn that when pride has grown to gigantic proportions it ought to be killed; Cinderella teaches that the humble are exalted; Beauty and the Beast demonstrates the principle that loving the unlovable may result in the transformation from the beastly to the beautiful; and Mary Poppins reminds them that “There is no greater joy than that seen through the eyes of a child,” as Walt Disney observes in Saving Mr. Banks. (shrink)

The World War II Disney propaganda films – the propaganda and entertainment shorts – are included in the Walt Disney in the Front Lines boxed set, which was released as part of the third wave of the Walt Disney Treasures collection in 2004. This chapter considers a neutral definition of propaganda – one that does not foreclose on the question of its moral acceptability. Each of the Disney propaganda shorts comes with a specific message, (...) though the common purpose was “intended to help the war effort, whether by encouraging thrift and sacrifice, or demoralizing the enemy.” Whether it is the pareidolic depictions of Nazi submarines in The Spirit of '43, or the caricatures of the German leaders in Der Fuehrer's Face, or the portraits of the Japanese troops in Commando Duck: the point is that these all rouse the passions in a way that purely verbal descriptions of the Axis soldiers never could. (shrink)

Walt Disney is largely responsible for popularizing the princess story in American culture. These stories are the centerpieces of the Disney collection and their flagship theme parks. Indeed, Cinderella's castle itself is at the heart of Disney's Magic Kingdom. The first of Disney's theme parks, the Magic Kingdom was intended to capture the magic and imagination of the Disney movies, and bring to life the settings of Disney stories. Epcot was the second of (...) four parks built at the Walt Disney World Resort location in Florida. While Liberty Square in the Magic Kingdom celebrates the independence of those who live in liberal democracies, the World Showcase at Epcot celebrates multiculturalism, and the possibility of appreciating and learning from a multitude of cultures. The chapter provides a better understanding of the philosophical tensions in Disney's theme park by taking a tour of the underlying political ideas lurking inside the Epcot and Magic Kingdom theme parks. (shrink)

Walt Disney’s movie, The Pagemaster (1994) begins on a dark and stormy night, with a young boy stumbling into an immense, gothic-styled library for refuge from the rain. Once inside, he is soon carried away by a tumultuous river of coloured paints, transformed into an animated characterization of himself, and thrust into an animated world of literature, where he battles Captain Hook, flees Moby Dick, and participates in other classic tales of adventure, horror, and fantasy. -/- Adults might (...) understand the film as a fanciful description of how they feel when reading a lively book. Although they would probably not imagine themselves tagging along with the animated characters like a 4th musketeer, they might very well claim that they enter a fiction through the viewpoint of one or more of the characters, experiencing, imaginatively, mental images of the sights, sounds, smells, and movements that the character would experience. Under this description, the reader would be forming multi- modal images that would correspond directly to what the literary characters are doing, thinking, and experiencing. When a fictional hero whips out his sword and slashes a rope in half, the reader might form a visual image of the hero’s determined face, an auditory image of the sound of the whizzing sword, and a motor image of an extended arm movement. I call such an imitative participation, by use of mental images in any modality, a simulation. -/- I suggest that this imitative experiencing of a fiction through the production of multi-modal imagery - a simulation - is not the only way in which readers might engage a literary text. In this paper I explore the hypothesis that readers might use their own bodily processes - those of the somato-viscero-motor system (SVM) for a non-imitative activity that I call a reinterpretation and that the reinterpretation might make a distinctive contribution to the reading process. As an example of a simulation and a reinterpretation, take the SVM experience of the reader’s breathing. A simulation would occur if the text describes a character who is taking deep breaths of air and the reader creates a mental image representing the experience of breathing. In this case, the reader’s mental image of breathing would stand for a property of the literary work - the fictional experience of breathing. -/- By contrast to the simulation, a reinterpretation would occur if the text describes a character who is gazing at long, wispy clouds that extend outward from a horizon and the reader uses his own experience of breathing to stand for the visual sense of looking at a long, continuous expanse of filmy white: the reader’s actual breathing would stand for a property of the literary work - the fictional experience of seeing. Breathing is not the same as seeing. This should help clarify the following definition. -/- I hypothesize that a reinterpretation occurs when the reader becomes aware of some component of the SVM system and reinterprets it as a property of the literary work that is not the same as that particular SVM process. The SVM experience is projected into the literary work. (shrink)

Walt Disney’s animation film Bambi is transparently liberal, and in the post-1968 era could even be seen as post-modern and deep-ecological. The reading offered here, however, makes three counter-moves to this prevailing interpretation: First it follows in both broad technique and ultimate conclusion Žižek’s critique of The Sound of Music wherein he unmasks a fascist ideology encoded in this ostensibly liberal musical. Second, it introduces a gender lens via Silvia Plath’s autobiographical poem, “Daddy,” and third, it employs Lacan's (...) Mirror Stage as key to this construction of a gendered identity and hierarchy. These three moves combine to show that, far from a simple coming-of-age cartoon about a cute little deer, the perennial classic Bambi can be read decidedly other-wise. (shrink)

Conservationists criticized the Walt Disney Company after word leaked out that shark fin soup would be served at Hong Kong Disneyland. Disney understood shark fin soup as a traditional item featured in Chinese wedding banquets and in sealing business deals. Eliminating the delicacy from the menu might undermine local customs and engender loss of “face”. Environmentalists argued that securing the shark fin involved a barbaric practice destroying the shark ecosystem, and that the soup represented an emerging status (...) symbol rather than an intrinsic feature of Chinese culture. Case study participants will gather together as Disney management executives to discuss the ethics of serving shark fin soup in light of environmental sensitivities, cultural factors, and existing stakeholder fiduciary responsibilities. Hong Kong Disneyland’s resolution surfaced after initial indecisiveness; their current corporate policy on social responsibility should not affect each management teams’ deliberation process and rationale for a recommendation regarding shark fin soup. (shrink)

Conservationists criticized the Walt Disney Company after word leaked out that shark fin soup would be served at Hong Kong Disneyland. Disney understood shark fin soup as a traditional item featured in Chinese wedding banquets and in sealing business deals. Eliminating the delicacy from the menu might undermine local customs and engender loss of “face”. Environmentalists argued that securing the shark fin involved a barbaric practice destroying the shark ecosystem, and that the soup represented an emerging status (...) symbol rather than an intrinsic feature of Chinese culture. Case study participants will gather together as Disney management executives to discuss the ethics of serving shark fin soup in light of environmental sensitivities, cultural factors, and existing stakeholder fiduciary responsibilities. Hong Kong Disneyland’s resolution surfaced after initial indecisiveness; their current corporate policy on social responsibility should not affect each management teams’ deliberation process and rationale for a recommendation regarding shark fin soup. (shrink)

The empirical findings in Collins and Porras'' study of visionary companies, Built to Last, and the normative claims about the purpose of the business firm in Centesimus Annus are found to be complementary in understanding the purpose of the business firm. A summary of the methodology and findings of Built to Lastand a short overview of Catholic Social Teaching are provided. It is shown that Centesimus Annus'' claim that the purpose of the firm is broader than just profit is consistent (...) with Collins and Porras empirical finding that firms which set a broader objective tend to be more successful than those which pursue only the maximization of profits. It is noted however that a related finding in Collins and Porras, namely that the content of the firm''s objective is not as important as internalizing some objective beyond just profit maximization, can lead to ethical myopia. Two examples are provided of this: the Walt Disney Company and Philip Morris. Centesimus Annus offers a way to expose such myopia, by providing guidance as to what the purpose of the firm is, and therefore as to what kinds of objectives are appropriate to the firm. (shrink)

To prepare for the Other: this is the mission of ethics. Future Present: Ethics and/as Science Fiction fuses contemporary philosophy from Heidegger, Derrida, Levinas, and others with cultural texts preoccupied with the future arrival of an Other: science fiction. We peer through the lens of science fiction with the help of H. G. Wells, Walt Disney, Star Trek, David Cronenberg, Philip K. Dick, and many others, in search of a theory of ethics that leaves open the possibility of (...) the Other and encourages empathy, which is necessary for survival in our multicultural world. (shrink)

Pensando no instigante sucesso do desenho animado "A Bela e a Fera", da Walt Disney, que teve grande repercussão mundial na época em que fora exibido, este artigo propõe-se a compreender o desenvolvimento psicológico da personagem Bela. Para tanto, algumas cenas do filme foram escolhidas para anális..

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 32-41 [Access article in PDF] Does Art Education Dream of Disneyland? [Figures] Introduction What image can we present when challenged to illustrate art education in the form of a scheme? The word "illustration" literally means to build understanding through an explanatory diagram. In art education or anything [End Page 32] else, the use of a visual image to understand a certain system (...) can be interpreted as a question of human sensitivity and recognition. Translating minute nuances or peculiarities of information into a vibrant image is, however, a confusing and difficult exercise. In this essay, I attempt to portray those elements crucial to the teaching and learning process of art education using Disneyland as a structural as well as a functional metaphor. The Happiest Place on Earth? Disneyland is depicted as "a dream world" and "the happiest place on earth." As described in various incisive essays, Disneyland is a symbol of modern American culture, an ultimate form of the consumer society or the hegemony of entertainment. 1 To start with, the structural elements of this epitome of Walt Disney's vision are outlined.Walt Disney created Main Street USA (the World Bazaar) to make all visitors feel as if they are the leading character in a Disney film, walking through the main street of life. He attempted to remove the ugliness of everyday life from his dream space by eradicating the back streets of the real world. The design of the buildings along Main Street originates from Walt Disney's hometown. The sense of distance within the Disney complex is enhanced by using a smaller scale for the upper stories of buildings and a progressively narrowing street.Sleeping Beauty's Castle (or Cinderella Castle at Tokyo Disneyland) lies beyond Main Street and is modeled on Neuschwanstein Castle in Fussen,South Bayern, Germany. The road leading to the castle ascends slightly which amplifies the anticipation factor for visitors. Sleeping Beauty's Castle is the centerpiece of Disneyland and functions as the hub to guide visitors to various lands. Several attractive spaces radiate from this hub, forming a total of six areas.On the extension line from the Entrance via Sleeping Beauty's Castle lies Fantasyland where Walt Disney has reproduced the world of animation based on European legends and fables. Toontown lies beyond Fantasyland. This is a world of familiar characters, such as Mickey, Minnie, and Goofy. Traveling clockwise, Tomorrowland is next where all kinds of imaginary worlds await visitors. Adventureland, on the opposite side of Main Street, offers worlds of different cultures and spaces for adventure. Beyond Adventureland lies Westernland, designed to invite visitors to return to the Wild West.It is possible to form a hypothesis that there are three axes connecting the six lands. Those axes run through Sleeping Beauty's Castle that acts as the hub and two opposing areas on the same axis with the Castle being the point of symmetry.The first axis could be the axis of "reality." If Main Street is considered to be the "crawling approachway" from the everyday sphere to dreamland,Fantasyland, offering playful space of extraordinary imagination, is set [End Page 33] against the ordinary space for everyday life. The second axis is the axis of "relationship" which connects individual persons to society. Toontown presents a world of fraternity and is a place where people bonded by kinship or friendship can trust each other and feel at ease. Frontierland, located on the opposite side of this axis creates a solitary space where people leave family and friends for the adventure of traveling to unknown lands. The third and final axis is that of "time" from the past to the future. Tomorrowland is a future world based on fantasy and imagination where prophecies becomereality. On the opposite side of this axis lies Westernland embodying the history and traditions of the American past.It is possible to regard each area of Disneyland, structured by these different worlds, as a metaphor to reflect the basic content and structure of art education in the context of the general curriculum. In fact... (shrink)

A. Collins once argued that time travel is only imaginable if we relate the "event" out of context. John Hospers argues that it is logically possible for an iron bar to float in water even if it is actually (empirically) impossible. My point in this piece is that Hospers relies on viewing the floating out of context, in Walt Disney fashion; but that is no way to establish any kind of possibility. I also discuss "conceivability", a term frequently (...) used either to clarify logical possibility or to interchange for the same. I argue that it cannot do either. (shrink)

This paper explores the way in which America—a cultural space produced by the world's largest media corporations and not the political entity called the United States— constructs, both discursively and spatially, zones of violence and zones of safety, contributing in the process to the maintenance and acclamation of political/symbolic global order. Through “thick descriptions” of three zones—EPCOT Center in Walt Disney World in Florida, as the ultimate safe zone; a day of media coverage of the Kosovo intervention in (...) 1999, the epitomy of a constructed zone of violence; and a reinterpretation of debates over media violence in the United States as the way of policing the zones of safety and zones of violence—the paper argues that zoning was the principal practice with which the self-content narrative of global economic success confronted the onslaught of alleged cultural violence in the 1990s. Zoning, to use Giorgio Agamben's analysis, is the forceful localization of an ever-expanding suspension of legal order; the practice that obfuscates the increasing frequency with which sovereign power encounters—and obliterates—bare life with impunity. Construction of boundaries between zones of safety and zones of violence is, therefore, more than performance of security—it is the way to affirm global order in face of its absence. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 32-41 [Access article in PDF] Does Art Education Dream of Disneyland? [Figures] Introduction What image can we present when challenged to illustrate art education in the form of a scheme? The word "illustration" literally means to build understanding through an explanatory diagram. In art education or anything [End Page 32] else, the use of a visual image to understand a certain system (...) can be interpreted as a question of human sensitivity and recognition. Translating minute nuances or peculiarities of information into a vibrant image is, however, a confusing and difficult exercise. In this essay, I attempt to portray those elements crucial to the teaching and learning process of art education using Disneyland as a structural as well as a functional metaphor. The Happiest Place on Earth? Disneyland is depicted as "a dream world" and "the happiest place on earth." As described in various incisive essays, Disneyland is a symbol of modern American culture, an ultimate form of the consumer society or the hegemony of entertainment. 1 To start with, the structural elements of this epitome of Walt Disney's vision are outlined.Walt Disney created Main Street USA (the World Bazaar) to make all visitors feel as if they are the leading character in a Disney film, walking through the main street of life. He attempted to remove the ugliness of everyday life from his dream space by eradicating the back streets of the real world. The design of the buildings along Main Street originates from Walt Disney's hometown. The sense of distance within the Disney complex is enhanced by using a smaller scale for the upper stories of buildings and a progressively narrowing street.Sleeping Beauty's Castle (or Cinderella Castle at Tokyo Disneyland) lies beyond Main Street and is modeled on Neuschwanstein Castle in Fussen,South Bayern, Germany. The road leading to the castle ascends slightly which amplifies the anticipation factor for visitors. Sleeping Beauty's Castle is the centerpiece of Disneyland and functions as the hub to guide visitors to various lands. Several attractive spaces radiate from this hub, forming a total of six areas.On the extension line from the Entrance via Sleeping Beauty's Castle lies Fantasyland where Walt Disney has reproduced the world of animation based on European legends and fables. Toontown lies beyond Fantasyland. This is a world of familiar characters, such as Mickey, Minnie, and Goofy. Traveling clockwise, Tomorrowland is next where all kinds of imaginary worlds await visitors. Adventureland, on the opposite side of Main Street, offers worlds of different cultures and spaces for adventure. Beyond Adventureland lies Westernland, designed to invite visitors to return to the Wild West.It is possible to form a hypothesis that there are three axes connecting the six lands. Those axes run through Sleeping Beauty's Castle that acts as the hub and two opposing areas on the same axis with the Castle being the point of symmetry.The first axis could be the axis of "reality." If Main Street is considered to be the "crawling approachway" from the everyday sphere to dreamland,Fantasyland, offering playful space of extraordinary imagination, is set [End Page 33] against the ordinary space for everyday life. The second axis is the axis of "relationship" which connects individual persons to society. Toontown presents a world of fraternity and is a place where people bonded by kinship or friendship can trust each other and feel at ease. Frontierland, located on the opposite side of this axis creates a solitary space where people leave family and friends for the adventure of traveling to unknown lands. The third and final axis is that of "time" from the past to the future. Tomorrowland is a future world based on fantasy and imagination where prophecies becomereality. On the opposite side of this axis lies Westernland embodying the history and traditions of the American past.It is possible to regard each area of Disneyland, structured by these different worlds, as a metaphor to reflect the basic content and structure of art education in the context of the general curriculum. In fact... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The 1998 Meeting of the Society for Buddhist-Christian StudiesPeggy StarkeyThe annual meeting of the Society for Buddhist-Christian Studies was held at the Walt Disney World Dolphin in Orlando, Florida, on Friday, November 20, and Saturday, November 21, 1998. The theme for this year’s sessions was “Ritual and Its Connection to Ethical Activity in the World.”The Friday afternoon panel, moderated by John Berthrong (Boston University), focused on Buddhist (...) views. John Makransky (Boston College) argued from a Mahayana Buddhist perspective that ritual/contemplative activity is a more effective paradigm for contemporary Buddhist ethics than that of Buddhist doctrine, which is now regarded by many as the source of Buddhist ethics. Historically, ethics has been the outflow of ritual activity and as such is both available to many more Buddhists than doctrine and draws more fully upon the various resources of the tradition. Furthermore, rituals as communal/universal expressions of ultimate reality, when practiced within the horizon of the concerns of one’s culture, naturally take expression in forms of social engagement. Stephanie Kaza (University of Vermont) provided insight into the connection between ritual practice and ethics through her vivid explanation of specific Zen rituals. One such ceremony, adapted to address human suffering in a specific situation, took place at the Nevada Nuclear Test Site. The ceremony prepared people for the difficult decision of choosing or not choosing civil disobedience. Thus, Zen rituals not only provide the invitation for mindful awareness in daily life, but also the possibility, though not the guarantee, for transformation everywhere. Yukio Matsuda (University of Heidelberg) discussed the relation between ritual and social activities in the areas of peace, culture, and education in Nichiren Buddhism as practiced by the Soka Gakkai movement. Chanting the diamoku in front of the gohonzon, for example, enables one to directly touch one’s own enlightened life and encourages not only a responsibility for changing one’s own destiny, but also a commitment to social engagement that works toward the creation of a peaceful society. Don Mitchell (Purdue University), responding from a Roman Catholic perspective, stressed those aspects of the three papers that led him to a better understanding of his own tradition. As in Buddhism, he sees the ritual sacraments in Christianity as providing models for moral behavior, reinforcing faith, and [End Page 175] empowering ethical behavior. He also raised several issues pertaining to the reinterpretation of Buddhist rituals or even the creation of new ones by Western Buddhists.John Berthrong introduced the Saturday morning panel, which focused on Christian views. Nicholas Groves (Chicago Public Library) drew on the history of the Oxford Movement, which he traced from its inception in 1833, for his example of the influence of Christian ritual upon ethics. For this movement, ritual was both an expression of the Christian doctrines of the Incarnation and the Trinity and the basis of an imperative for social justice. For the discussion to follow, he asked, “What is the function of a prophetic and radical reading of a spiritual tradition, either Christian or Buddhist, within the larger community of the Sangha or the Church?” Speaking from a Protestant point of view, Jay Rock (codirector, Interfaith Relations, National Council of Churches of Christ, USA) discussed Christian ritual in terms of the reactualization of the past and of the transformation of the present. Baptism and the Eucharist commemorate past historical events that are made present in the liturgy in such a way that the participating Christians not only receive God’s gift of unlimited love, but also are sent out into the world to live out this love in ethical behavior. Christian ritual confronts the participants with the question, What is now required? Responding from a history of religions perspective, Jan Nattier (Indiana University) raised several questions for discussion: How does ritual—not the theological ideas behind it—empower social action? Would there be Christian social activists without the ritual of the Eucharist? What are the political factors, past and present, that have created a shared sense of the necessity of social action across the boundaries of such radically different traditions as Buddhism and Christianity? The session then ended with a lively discussion.President Paul Ingram presided over... (shrink)

Disneyland is work disguised as play; school disguised as vacation. While Walt Disney’s curriculum deploys across all of its products, it literally engulfs the approximately 50 million ‘guests’ who visit the Disney Parks each year. Drawing on Sarah Ahmed’s phenomenological reading of orientation in Queer phenomenology, this article investigates the ways in which Disney’s didacticism is made material through practices and procedures designed to orient the park’s visitors, to ensure that those visitors always know where they (...) are and who they are, as a means of educating ‘good’ citizens. The argument focuses not on Disneyland’s narrative curriculum but on its corporeal one: visitors are enticed to make affective investments, to construct or reconstruct their identities to comply with the Disney version of the ideal American worker and consumer, as the park attempts to reorient those who resist those roles. (shrink)

Los criterios de excelencia e innovación a la hora de valorar las tecnologías de la comunicación se ven afectados por un gran número de factores, pero al final hay uno que prima sobre todos los demás: la calidad de la imágenes utilizadas, como sucede con National Geographic y Walt Disney, dos empresas de comunicación que han sido determinantes a la hora de fijar los criterios estándar de excelencia e innovación. En este contexto se reconstruye el debate contemporáneo entre (...) Wiesing, Levinson, Crowther y Seel acerca de los criterios de excelencia e innovación usados a la hora de valorar la calidad de las imágenes virtuales mediáticas por parte de las tecnologías de la comunicación, teniendo en cuenta su cuádruple dimensión genético-retroductiva, simbólica, contextual y estrictamente escénica. (shrink)

In 2017, Steven Gimbel published Isn’t That Clever: A Philosophical Account of Humor and Comedy. This book proposes, among other vastly interesting notions, a definition of humor that eschews audience reactions in favor of focusing exclusively on the craft and intention of the responsible comedian. This article intends to provoke that definition and show why humorous performances cannot be crafted without an audience-centric mindset, proving Gimbel’s notion problematic at best. To poke this definition, I draw on the American Folk Humor (...) tradition and compare its historic roots with modern tourist attractions that on the surface appear to channel its spirit. These include the Hoop-Dee-Doo Revue dinner show at Walt Disney World and The Brewery Follies at Virginia City, Montana. After showcasing the differences between these modern performances and the tradition they pretend to espouse, I conclude that Gimbel’s theory cannot account for the evolution of a funny genre. (shrink)

In the nearly 800 pages that comprise the three volumes of his Graphology Poems 1995–2015, John Kinsella demonstrates an exemplary moral anger registering iterations of colonial “omni-speak” as unethical. This paper reads Giorgio Agamben’s Homo Sacer by way of apprehending the rhetorical substrata underpinning discourses of Australia as not just determining a sovereign colonial space; in a place where “history is absurdity […] history is overlay”, Kinsella shows how indigenous and non-colonial others are consistently cast as extra-juridical and merely sub-human. (...) These Graphology Poems not only anathemise and hex historical falsehoods of nation: Kinsella dares sound out the bullshit, and his iconoclastic language games refuse outright to acquiesce to the epistemically violent nullifications of antipodean identity. (shrink)

The cholinergic system is a good candidate for the role of determining the relative weight given in cortical information processing to new sensory information versus prior knowledge. We discuss the physiological data supporting this, and suggest that this Bayesian perspective can easily be reconciled with the dynamical framework proposed by Behrendt & Young.

Introduction: a day at the shelter -- How can I volunteer at an animal shelter? -- How can I volunteer at a wildlife center? -- How can I volunteer as a citizen scientist? -- How can I Volunteer at a zoo?

Nothing in our world seems more obvious, real, and commonsensical than the idea of self. This book is a fascinating examination of our assumptions about the deceptively simple concept of "self", of the many ways those assumptions are now being challenged, and of the possible new ways of being that may arise in their place.

"One can rarely read or hear commentary on art, popular culture, society, literature, or politics these days without being confronted by the mysterious term 'postmodern.' Unlike any other artistic, critical, or philosophical movement in history, postmodernism has come charging out of the ivory tower and into the minds and mouths of the public. The postmodern lens is now the one through which we all are expected to be able to view the world, but how many of us know what this (...) really means? The tenets of postmodernism are much more than a trendy system of thought or an academic dialogue. Rather, they offer practical tools for coming to terms with a world composed of vast amounts of unsettling information, daily interactions with unfamiliar cultures and beliefs, and a continuous and overwhelming set of choices. [This book] is a stimulating and accessible exploration of the complexities of postmodern thought--constructivism, deconstruction, irony, pluralism, multiculturalism--as diverse as the world it describes. Readers will discover the roots of postmodernism, what it does to cultural symbols and differences, and how it affects psychology, religion, and science in essays both profoundly serious and thoroughly entertaining. [The editor] acts as a guide to this difficult terrain by leading readers through each essay, describing new and provocative ideas in detail, dispelling confusion, and, most important, showing what this thinking has to offer everyone. [This book] is an indispensable handbook for the new cultural literacy of our emerging postmodern world"--. (shrink)

A collection of essays that provides an introduction to the emerging postmodern world. The reader is guided through the subject and shown how it affects psychology, philosophy, religion and science.

Clarity, focus, and startling detail are the stuff of lasting images--in poetry or photography.

Walt Bower - Rethinking Durkheim and His Tradition - Journal of the History of Philosophy 44:2 Journal of the History of Philosophy 44.2 323-324 Warren Schmaus. Rethinking Durkheim and His Tradition. New York: Cambridge University Press, 2004. Pp.xii + 195. Cloth, $65.00. Warren Schmaus has offered a compelling and sophisticated reinterpretation of Émile Durkheim's sociology of knowledge in the context of the eclectic spiritualist philosophical tradition dominant during the Third French Republic. More specifically, the primary purpose of the book (...) is to examine how Durkheim's categories of understanding developed out of the way Kant was interpreted by nineteenth-century academic philosophy in France. The debate between Kantian apriorist and Humean empiricist accounts of the theory of the categories is the main epistemological dilemma for.. (shrink)

John Kinsella remains Australia’s most militant, morally cognizant naysayer, and his oeuvre is an archive of precepts running counter to master narratives of place. This essay re-reads Benjamin’s notion of the artist as cultural producer against the grain of Esposito’s etymological excavations of “community,” and frames Kinsella’s steady output of co-authored books as not only a mode of nomadic munificence but no less than a kind of formative guerrilla poetics. Pairing with poets, rock stars, others to extend his anti-capitalist project, (...) Kinsella’s co-authored works perform a suite of interventions, gifting readers a means by which we too might fathom the generative effects of banding together in a munus speaking its own laws to reconfigure notions of co-empowerment, equity, and indeed comradeship. Each of Kinsella’s co-authored books constitutes an intentional community of two and, as if dwelling in compositional possibilities, each text remains steadfastly optimistic. Refusing to be locked into despair by regressively instrumentalist political non-visionaries, from within an Antipodean milieu Kinsella and his many co-authors materialize gestures demonstrating how we might struggle for control of who gets to produce ideas, by which decentralized means, and to which generative ends. (shrink)