This chapter contains sections titled: The Roots of the Blues in Trauma, Loss, and Adversity Transforming Trauma, Loss, and Adversity The Blues as Living Oral History Transformation through Music Emotional Regulation in the Blues The Creative Reverberation of Traumatic Loss The Blues as a Living, Evolving Legacy Notes.

The essay is devoted to the reconstruction of the philosophy of art of Novalis, one of the prominent German Romantics, who presents it in his writings in a fragmentary way. Research of this type appears in scholarly literature for the first time; it utilizes a complex philosophical-aesthetic method of analysis of texts of the German thinker. Novalis appreciates art as one of the highest achievements of humanity, which elevates the human being from ordinary life to spiritual heights. Art is a (...) free expression of the artists' Ego. Art is simultaneously a “self-contemplating and a self-creating nature.” The creative principles of nature are transformed within the spiritual world of the artist and express themselves in art. The secrets of nature are revealed to the artist. The artists sees something great in the least significant things. The beautiful is the object of art and this creates kinship between all types of art. Artists (including painters) do not imitate the external world but they create by means of their internal world. All types of art gravitate towards mutual harmony and foreshadow a synthesis of the arts of sorts. Novalis positions poetry above all other arts. This is because according to him poetry establishes heavenly wisdom on earth, elevates the human being over everyday life, and serves as the foundation for all other arts. Philosophy is internally linked to poetry and serves as its theory. The philosopher must be a poet. The poet lives a special, contemplative life and is a wise and prophetic person. Novalis imagines the future Romantic age as fabulous, magical, poetic, ironic, alogical. “Intelligent chaos” will play a specific role in it. All earthly will be elevated to the heavenly. Novalis considers the novel as one of the principal forms of Romatic poetry and presents its chief characteristics. (shrink)

Focusing on the aesthetic representation of trauma, George Smith outlines the nexus points between poetics and hermeneutics and shows how a particular kind of thinker, the artist-philosopher, practices interpretation in an entirely different way from traditional hermeneutics. Taking a transhistorical and global view, Smith engages artists, writers, and thinkers from Western and non-Western periods, regions, and cultures. Thus we see that poetic hermeneutics reconstitutes philosophy and art as hybridizations of art and science, the artist and the philosopher, subject and object. (...) In turn, the artist-philosopher's poetic-hermeneutic reconstitution of philosophy and art is meant to transform human consciousness. This book will be of interest to artists and scholars working in studio practice, art history, aesthetics, philosophy, cultural studies, history of ideas, history of consciousness, psychoanalytic studies, myth studies, and literary studies, and creative writing. (shrink)

The process of bringing the visceral, bodily aspect of emotional experience into language plays a vital role in the working through of painful emotional states. Such visceral-linguistic unities are achieved in a dialogue of emotional understanding, and it is in such dialogue that experiences of emotional trauma can be held and transformed into endurable and namable painful feelings. The blues is a wonderful example of such dialogue. In the unifying experience of the blues, songwriter, performers, and listeners are (...) joined in a visceral-linguistic conversation in which universally traumatizing aspects of human existence can be communally held and borne. (shrink)

Although the ways in which the fields of gender studies, feminist theory and politics have grown and developed in Bosnia and Herzegovina over the last decade are largely unaccounted for in feminist scholarship, their lessons, insights and potentials are relevant for scholarship and politics that weaves through the traumatic knots of postcoloniality and biopolitics. This article looks at the politics of witnessing through a creative approach to losses and the potential politics of hope in such a context. It engages with (...) several lines of inquiry through a dialogue of `local'/`global' feminist and postcolonial theory and practice, through subaltern lenses of transnational feminist solidarities and informed by the lessons of non-institutional public spaces of thinking, judging and acting as instances of vernacular cosmopolitanism in the field of cultural production within Bosnia. Continuously re-emerging postcolonial/biopolitical fractures, induced by the global/local political economy of capital and violence, also produce political (cultural/artistic/public) practices of witnessing which shake and reshuffle our quests for social and political transformation. Embracing them effectively is one of the most important lessons of Bosnian (postcolonial, post-war, post-communist...) ambivalences and forbearances. Such hopeful political navigation through injustices and injuries inflicted by global/local regimes of biopolitics and capital is fundamentally about reinvigorating the scholarship and politics of gender, witnessing, postcoloniality and trauma along creative feminist trajectories. (shrink)

_Art and Mourning_ explores the relationship between creativity and the work of self-mourning in the lives of 20th century artists and thinkers. The role of artistic and creative endeavours is well-known within psychoanalytic circles in helping to heal in the face of personal loss, trauma, and mourning. In this book, Esther Dreifuss-Kattan, a psychoanalyst, art therapist and artist - analyses the work of major modernist and contemporary artists and thinkers through a psychoanalytic lens. In coming to terms with their (...) own mortality, figures like Albert Einstein, Louise Bourgeois, Paul Klee, Eva Hesse and others were able to access previously unknown reserves of creative energy in their late works, as well as a new healing experience of time outside of the continuous temporality of everyday life. Dreifuss-Kattan explores what we can learn about using the creative process to face and work through traumatic and painful experiences of loss._Art and Mourning _will inspire psychoanalysts and psychotherapists to understand the power of artistic expression in transforming loss and traumas into perseverance, survival and gain. Art and Mourning offers a new perspective on trauma and will appeal to psychoanalysts and psychotherapists, psychologists, clinical social workers and mental health workers, as well as artists and art historians. (shrink)

The paper problematizes the work and evolution of a Bulgarian artist from the point of view of the biographical approach, his artistic interventions and his re-legitimization as a contemporary artist. It discusses various aspects of contemporary art from the point of view of the artist, his interventions, market demands, the underlying contradictions, as well as the transformative tendencies in the small graphics. The paper argues that it is necessary to expand the understanding of contemporary art with certain actions of (...) artists. (shrink)

This article aims to analyse one specific type of memorial site that furnishes an indexical link to past traumatic events which took place in precisely these places. Such memorials will be defined here as trauma sites. It will be shown how the semiotic trait of indexicality produces unique meaning effects, forcing a reframing of the issue of representation, with all its aesthetic and ethical dimensions. In contrast to other forms of memorial site, trauma sites exist factually as material testimonies of (...) the violence and horror that took place there. The fact they still exist, more or less as they were, implies a precise choice on the part of post-conflict societies regarding which traces of the past ought to be preserved and in which ways. In other words, a decision is made about what politics of memory to adopt in each case. Trauma sites thus become unique, privileged observatories that allow us to understand better the emergence of post-conflict societies. The various forms of conservation, transformation, memorialization of places where slaughter, torture and horror have been carried out are key clues to better understandings of the relationship between memory and history in each post-conflict society studied. This article presents a close reading of three very different trauma sites: the Tuol Sleng Museum of the Crimes of Genocide in Phnom Penh, Cambodia; Villa Grimaldi in Santiago, Chile; and a third, more recent, museum: The Ustica Memorial Museum (Museo per la Memoria di Ustica) in Bologna, Italy. These memorials represent instances of three very different traumatic memory politics: in Tuol Sleng, visitors are relocated in the trauma space, in a sort of ‘frozen past’; in Villa Grimaldi, a process of attenuation is at work, the traces of the past are less evident, and their emotional effects weaker. The Ustica Museum represents yet another option, a movement towards an artistic and creative reinterpretation of the traumatic event itself. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 23 (2003) 187-189 [Access article in PDF] Blue Jean Buddha: Voices Of Young Buddhists. Edited by Sumi Loundon. Foreword by Jack Kornfield. Boston: Wisdom Publications, 2001. xxi + 234 pp. Blue Jean Buddha is not the name of one of this year's short-lived pop sit-coms nor is it a trendy apparel statement. You will not find low-rise, hip-hugging jeans and navel-studded co-eds in this collection of lively (...) and articulate essays by young American Buddhists in their late twenties and early thirties. (But then again you might have found them if today's teen Buddhists were represented!) Blue Jean Buddha is highly readable and mind-opening to those unfamiliar with the growth of Buddhist communities and practitioner networks in North America as well as for text and church-bound academicians of Buddhist-Christian discourse.Blue Jean Buddha:Voices of Young Buddhists is a medley of twenty-nine upbeat and down-home personal testimonies of mostly Westerners who were raised as Buddhists in the United States or who converted early on in life. The book is divided into four parts: Lessons, Life Stories, Livelihood, and Reflections. Refreshingly immediate introductory pages (really a series of questions!) and the concluding Reflections are offered by editor Sumi Loundon, an artist and graduate of Harvard Divinity School and former chair of the Harvard Buddhist Community. Sumi herself was born into a small Zen community in rural New Hampshire, practiced vipassana for years and is now committed to the Buddhist traditions of Korea, where I first met her at a temple in Seoul. She is planning to come out with a second volume of essays by more representatives of America's fertile Buddhist garden in 2004.The essays in Blue Jean Buddha are a cornucopia of commentary and questions about the reception of Buddhism in the West, the spiritual odysseys of exceptional young seekers, and thoughtful ruminations on the transformative effects of dharma practice for personal and social change. These are the voices of American Buddhism at its grassroots, in the lives of young Buddhists as they are actually living it. One contributor, Elijah, age twenty-eight, was recognized as a tulku by the Dalai Lama when he was eight; another voice is Hanuman, twenty-four, a musician and proud "Bu-Hin-Chris-Jew" whose senior performance was called "The Mind Is a Belligerent Puppy—Easy to Train, Difficult to Discipline." Yet another contributor is Liane, a Japanese American Jodo Shinshu follower, thirty-three, whose faith was tested after she became paralyzed from the neck down in an automobile accident when she was twenty.Blue Jean Buddha is one of those versatile books you can recommend to almost anyone you meet to introduce them to the living practice of Buddhism in contemporary America. The personal vignettes are short, compelling, and easy to read on a plane, on a bus, or at your bedside. College students at all levels will enjoy it because of the open spirit with which it is presented. It asks many leading questions about [End Page 187] Buddhism and the nature of spiritual life in general. Readers will be happily surprised, remarking, "Hey! I was there, too! That's what I was thinking!" You can read and reread it many times and still get some new personal insight out of it. I certainly did, assisting my wife, Jinsuk Lim, preparing a Korean translation of the book. A best-seller among Eastern spiritual titles distributed by Amazon.com and Shambhala, the Korean version sold very well in Buddhist and more intellectually progressive circles. Those conversant with Buddhist studies in general as well as meditation and transpersonal psychology will recognize a few familiar surnames; candid and compassionate offspring of illustrious parents have contributed to Blue Jean Buddha. I will leave it to SBCS members in the know to seek out and identify them!As for the interface of Buddhist and Christian beliefs and interfaith practice of concern to our seasoned readers, let us allow editor Sumi Loundon to offer her musings from her own youthful experience: The essays in this book... (shrink)

Philosophical Investigations, Volume 45, Issue 2, Page 107-129, April 2022.

How did Nietzsche the philosopher come into being? The Nietzsche known today did not develop 'naturally', through the gradual maturation of some inborn character. Instead, from an early age he engaged in a self-conscious campaign to follow his own guidance, thereby cultivating the critical capacities and personal vision which figure in his books. As a result, his published works are steeped in values that he discovered long before he mobilized their results. Indeed, one could argue that the first work which (...) he authored was not a book at all, but his own persona. Based on scholarship previously available only in German, this book examines Nietzsche's unstable childhood, his determination to advance through self-formation, and the ways in which his environment, notably the Prussian education system, alternately influenced and impeded his efforts to find his own way. It will be essential reading for all who are interested in Nietzsche. (shrink)

The article deals with the means of constructing a naturalistic character, the model for which was proposed by French writers: the Goncourt brothers and Émile Zola. Naturalists draw their personage concept from the interpretation of its biological nature. The focus of its depiction is shifted to the study of fundamental features of human nature rather than “variables” of the historical forms of its manifestation. A naturalistic character, being “a biological being” rather than “a set of social relations,” is completely absorbed (...) by the environment. The “social” core of a realistic personage is based on the principles of typification, but the “biological” core of a naturalistic character cannot be a generalized type because in it the individual prevails over the typified. Images of Germinie Lacerteux and Thérèse Raquin from the Goncourts’ and Zola’s same-name novels respectively are considered to be prototypes of naturalistic characters. In Ukrainian literature, Ivan Franko interpreted and synthesized Western European experience using realistic and naturalistic art to create his own concept of “scientific realism.” The difference in Franko’s personage construction lies in the fact that he does not confine himself to the observation and description of his heroes’ behavior but offers a plan for correcting their deficiencies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Trauma, Addiction, and Temporal Bulimia in Madame BovaryElissa Marder (bio)Lisez, et ne rêvez pas. Plongez-vous dans de longues études. Il n’y a de continuellement bon que l’habitude d’un travail entêté. Il s’en dégage un opium qui engourdit l’âme [Read and do not dream. The only thing that is continually good is the habit of stubborn work. It emits an opium that numbs the soul].—Gustave Flaubert to Louise ColetMadame Bovary (...) I daresay is about bad drugs.—Avital Ronell, Crack WarsIf Flaubert’s Madame Bovary remains so timely, it is because its heroine, Emma, suffers from the quintessential malady of modernity, the inability to incorporate time into experience. Emma’s missed encounter with her own life, her inability to “get a life,” as we say now in America, renders her our contemporary in the strangest sense of the word. She is our contemporary not because we live in the same time but because her failure to live in time has come to define our own. Paradoxically, Emma Bovary has been so well preserved (she is, in some sense, “more alive” now than ever) because she incarnates and inaugurates a modernity that can be defined by the erosion of the possibility of living in time. In Flaubert’s minute and meticulous descriptions of the particular temporal disorders that afflict Emma (as we shall see, she can neither bear witness to an event nor remember one, she can neither live in the present nor project a future, she is incessantly subject to bouts of involuntary forgetting even as she is preoccupied by obsessive rites of recollection, she attempts simultaneously to conjure up time and to stop it), we can read the prophetic traces of a depiction of the temporal structure of the many forms of trauma and addiction that have come to define contemporary American culture.But before turning to Flaubert’s prescient and powerful analysis of how Emma Bovary suffers from a “temporal disorder,” let us take a brief look at how the notions of trauma and addiction have been described in a contemporary analysis of modern culture. In his recent book On Flirtation, the British child psychoanalyst Adam Phillips redescribes ordinary neurosis as a traumatic response to an inability to live in time. He writes:People come to psychoanalysis when there is something they cannot forget, something they cannot stop telling themselves, often by their actions, about their lives. And these dismaying repetitions—this unconscious limiting or coercion of the repertoire of life stories—create the illusion of time having stopped (or [End Page 49] rather, people believe—behave as if they have stopped time). In our repetitions we seem to be staying away from the future, keeping it at bay.[153]Phillips goes on to explain that “[f]or Freud these repetitions are the consequence of a failure to remember.... Whatever cannot be transformed, psychically processed, reiterates itself. A trauma is whatever there is in a person’s experience that resists useful redescription. Traumas, like beliefs, are ways of stopping time” [153–54]. Phillips’s argument rings with a seductive simplicity: neurosis is defined as a temporal disorder, and the contemporary psychoanalytic “cure” does nothing less than promise time. It presumably offers the subject the option of accepting the contingencies of living in time over the pleasure and pain that attend the attempt to stop it.Nonetheless, Phillips’s claim, that contemporary neurosis can be expressed as an attempt to stop time, should perhaps make us pause. Stopping time, in the time of Balzac, Gautier, Baudelaire, and Flaubert, was once conceived of as part of the privileged domain reserved for art and the artist. We might have naively assumed that in the realm of the “real world,” for “real people” time remains an implacable fact of life. The task of falling out of time, after all, would seem to necessitate either an accident of enormous magnitude (a trauma in the traditional sense) or the reliance upon an external substance—hashish, opium, alcohol, or cocaine—one of those mind-altering substances that so preoccupied the nineteenth-century advocates of paradis artificiels. So what is surprising and particularly suggestive... (shrink)

This article explores the implications of Bernard Stiegler’s concept of the Neganthropocene, coined to reconfigure the entropic and apocalyptic conditions of the Anthropocene, for the artistic project Air Morphologies. Created by a London-based duo, Matterlurgy, the interactive Virtual Reality research project investigates the materiality and composition of air pollution particles, their causes, effects and morphological agency. Matterlurgy’s project, which locates viewers in the Virtual Reality environment and engages them in participatory activities, becomes a techno-ethical practice of nurturing ways to (...) think and care for the more-than-human world essentially transformed and dominated by the anthropogenic factors. The artistic practice indicates that we need to think collectively, not about but with nature, technology, history, objects and theories. As the article shows, with such strategies, we will be able to acknowledge more-than-human interconnections, human-nature-technics connections and rework the conventional patterns of knowledge production to heal the adverse outcomes of the Anthropocene. (shrink)

Blue Fier is a master of composition technique, and the advice he shares in this essential book teaches you to bring together subjects, lighting, color, depth of field, and design elements to produce photos that make powerful statements.

The image of Baba Yaga in the folk culture of the ancient Slavs is considered as an object of research in this work. As an important part of folk culture, Russian folk tales take upon themselves the responsibility to broadcast traditional moral qualities and form the basis of a person's evaluative and emotional attitude to the world. The subject of the study is the transformation and interpretation of the image of Baba Yaga performed by the People's Artist of the (...) RSFSR Georgy Millar in the film tales directed by Alexander Rowe. The authors set a goal to identify specific features in the interpretations of the image of Baba Yaga by George Millar and to identify the typology of these images. The methodological basis of the article is content analysis, comparative, statistical, historical and cultural analysis of the films narrator Alexander Rowe. The authors, when considering the problem, achieve the following results: Georgy Millar starred in 16 Alexander Rowe's fairy tales, while performing 27 roles; he played Baba Yaga in 4 fairy tales; only the first is the canonical image, the other three images are the personal merit of Georgy Millar. In the process of developing the problem, the authors identify comparative criteria of Baba Yaga images: external features, behavioral characteristics, character traits. The novelty of the research consists in the unconventionality of the indicated approach, as well as in a comprehensive analysis of the palette of creative possibilities of actor Georgy Millar. As a result of the study, the authors come to the following conclusions: 1) the centuries-old image of Baba Yaga is very complex and often contradictory, so it can be transformed and interpreted; 2) Georgy Millar created 4 different images of the same character - Baba Yaga "Witch", Baba Yaga "Old Housewife", Baba Yaga "Mother" and Baba Yaga "The lady.". (shrink)

This article has already been published in, and is available in open access from Time and Society, 0, 2017, pp. 1-29. We thank Stanley Blue for his permission to republish it here.: The practice turn in social theory has renewed interest in conceptualising the temporal organisation of social life as a way of explaining contemporary patterns of living and consuming. As a result, the interest to develop analyses of time in both practice theories and practice theory-based - Sur le concept (...) de rythme. (shrink)

Drawing on the recognition that questions of discourse and power are vital components in analysing the public participation in environmental governance, this paper examines the ways in which dominant scientific discourses about the Earth's climate inform the types of public talk facilitated in and by mini-publics, particularly when they are 'scaled up' to address environmental issues such as climate change. World Wide Views on Global Warming (WWViews) serves as a case study. Conceived and organised by the Danish Board of Technology, (...) WWViews was a historically unprecedented public forum in which participants, invited from a range of nations, were given the opportunity to deliberate on key themes addressed in the negotiations taking place during the United Nations Convention on Climate Change in Copenhagen (COP 15). The overarching purpose of this analysis is to invite reflection on the practices and assumptions that serve to make up publics in relation to issues that have been framed, predominantly, as scientific, universal and global. (shrink)

Urban infrastructures serve as the backbone of modern economies, mediating global exchanges and responding to urban demands. Yet, our comprehension of these complex structures, particularly within diverse socio-political terrain, remains fragmented. In bridging this knowledge gap, this study delves into “boundary objects”—entities enabling diverse stakeholders to collaborate without a comprehensive consensus. Central to our investigation is the hypothesis that oceanic infrastructural developments are instrumental in molding the interface of urban, industrial, and energy sectors within marine contexts. Our lens is directed (...) at the Gulf of Mexico, which is distinguished by its industrial depth and expansive marine grid. We highlight the Gulf Intracoastal Waterway’s (GIWW) paramount role in regional movement and the ecological facets of practices such as dredging, which is vital for transport and coastal conservation. A striking revelation of our study is the transformation of offshore structures in the Gulf into vibrant marine habitats. Emphasizing the intertwined nature of marine infrastructures, we denote oceans as pivotal platforms for impending urban expansion, especially as land resources wane. Our research aspires to validate the role played by oceans as a nexus in the urban–industrial–energy fusion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Refugees of a Crisis in ReferenceHolocaust Memoir and the Deconstruction of Paul de ManPatrick Lawrence (bio)Since discovery of Paul de Man’s wartime journalism, the debate over perceived ethical deficiencies in the philosophies of postmodernism in general, and deconstruction in particular, has intensified. At times more or less vitriolic or persuasive, this debate has brought about a crisis of scholarship to accompany the crisis of reference that is one of (...) its central points.1 At the horizon of the discussion is the Holocaust and its potential to reform modes of representation. As Jeremy Varon notes in his essay “Probing the Limits of the Politics of Representation”:the premises and insights of a variety of discourses, notably postructuralism [sic], deconstruction, psychoanalysis in its newer versions, metahistory, and postmodern theory in general, have at once been applied to and checked against the Holocaust. Such discourses often approach the Holocaust as a kind of limit case that tests the strengths and weaknesses of their various interpretive strategies.(Varon 84)It seems natural because of its (perhaps incomprehensible) magnitude and significance that the Holocaust should occasion self-testing and soul searching on the part of a variety of discourses, notably those that already inclined to such activities.2 Because of its status as at once radically historical and radically ahistorical (in that its import for history cannot be denied, but that the scope of its horror may transform notions of historicity), the Holocaust calls for a reassessment of all aesthetic, poetic, and theoretical paradigms. In the context of such novel and difficult historicity, the problematization of reference that de Manian deconstruction occasions takes on new and complex implications that need particular attention. This is especially important because, like American deconstruction, artistic representations of the Holocaust also assert a new, problematic relationship with their referent.My intention is not to delve into this debate exhaustively. Rather, I attempt an understanding of the problems of some specific critical-theoretical tenets proposed by Paul de Man as they interact with Holocaust memoirs. Doing so may be a way to understand the larger issue by exploring its expression in a narrow vein: that of literature. Holocaust memoirs as a group have been read as making new claims about their relation to a particular referent—about the inability of fully representing the Holocaust in existing modes—but they also make simultaneous claims about the utter necessity of attempting to do so. It will be helpful to see how this revolution of the relationship of [End Page 17] writing to its referent is perhaps at odds with that other similar revolution, that of deconstruction. I also attempt to put this potential conflict into a frame that may elucidate the reasons for their disconnect, using Lyotard’s well-known attempt at establishing an order of postmodern ethics: The Differend, as well as approaches to trauma and memory suggested by Derrida.My aim here is also not to delve into judgments of guilt or innocence with respect to de Man himself and his activities during World War II. I instead venture into the ways, both positive and negative, but inherently problematic, that his writings come into contact with an event recognized by many as a limit event, one that demands recognition of its historicity, even as it engenders a body of literature that expresses the difficulty of understanding the event itself.There is much in de Man’s writings that forces us to consider the restraints and potential of the means of construction of written texts. Exploring this can lead toward a better understanding of the way that individual texts create and manipulate meaning. To this end, much can be gained from de Manian criticism that makes apparent the contradictory tendency of linguistic constructions to indicate something outside themselves (their referential potential), even while their structures and conventions cast in doubt the reality of this “something.” One makes use of this discourse, not in the hopes of destroying the privilege of referentiality that underlies the structures of testimony, victimization, and trauma, but in the hopes of finding a way for the discourse of memoir (and autobiography) to be reconciled with the discourse of deconstruction in such a way that... (shrink)

Robert Holub’s book, Nietzsche’s Jewish Problem: Between Anti-Semitism and Anti-Judaism, fundamentally concerns two topics: Was Nietzsche the man anti-Jewish? Was he somehow responsible for inspiring anti-Semites and particularly fascists and Nazis? These are different issues—one of biography, the other of reception—and Holub would have been advised not to link them in a single volume. Nonetheless, one reason for the connection is immediately evident. Holub distinguishes between anti-Semitism and anti-Judaism, separating them before discussing their interplay. He conceives the first as a (...) nationalist political movement opposed to Jews, and the second as prejudices against Jews at a personal level.... (shrink)

The ethical theories employed in health care today assume, in the main, a modern Western philosophical framework. Yet the diversity of cultural and religious assumptions regarding human nature, health and illness, life and death, and the status of the individual suggest that a cross-cultural study of health care ethics is needed. A Cross-Cultural Dialogue on Health Care Ethics provides this study. It shows that ethical questions can be resolved by examining the ethical principles present in each culture, critically assessing each (...) value, and identifying common values found within all traditions, It encourages the development of global awareness and sensitivity to and respect for the diversity of peoples and their values and will advance understanding as well as help to foster a greater balance and a fuller truth in consideration of the human condition and what makes for health and wholeness. (shrink)

Although it originated in criminal justice, restorative justice is essentially a peacebuilding or conflict transformation approach to justice. The crossdisciplinary experience at the Center for Justice and Peacebuilding has suggested some important lessons for restorative justice, peacebuilding and related fields. These include the role of trauma and victimization in justice and peacebuilding; the significance of justice questions in trauma and conflict resolution; the importance of addressing responsibilities as well as needs; the role of shame, storytelling and empathy; the commonality (...) of underlying values; the need for our fields to address underlying issues of bias and structure; and the susceptibility of our fields to unintended consequences. Restorative justice suggests some questions and issues that may be of use to peacebuilding practitioners in general. Above all, it is important for all of us to see ourselves within a larger umbrella of peacebuilding; this will require that we move from competition to collaboration and adopt a common vision of "justpeace.". (shrink)

Today, in any mature information society, we live neither online nor offline but on life, that is, we increasingly live in that special space that is both analogue and digital, both online and offline. Imagine someone asking whether the water is fresh or salty in the estuary where the river meets the sea. That someone has not understood the special nature of the place. Our information society is that place. And our technologies are perfectly evolved to take advantage of it, (...) like mangroves growing in brackish water. In the mangrove society, machine-readable data, new forms of agency and interactions are constantly evolving. The consequences of such a radical transformation are many, but one is particularly significant and rich in consequences: how should we design the mangrove society, when it comes to the relationship between the natural and the digital? In this text, I argue that the digital blue is a great ally of the environmental green. The two work best in tandem. And if the world will enjoy a sustainable development for the environment that is also socially preferable for humanity, it will be because the green and the blue will have created a virtuous circle of nature and technology. It can be done. There is just no time to waste. (shrink)

The work is aimed at interpreting text and paintings in D. Rubina and B. Karafelov’s book ‘Okna‘. The authors of the article conduct an analysis of episodes with pictorial ecphrasis in the stories from the book and an iconographic analysis of paintings inside the stories. The chosen topic is actual, because it provides an alternative way to solve a problem of word and image relations in the text. The article is aimed at the search for new methods to reflect a (...) protagonist’s character. In this context, the authors of the article compare images in D. Rubina’s texts with B. Karafelov’s paintings, analyze the symbiotical connection of pictorial ecphrasis and reproductions of paintings. The most of the stories are autobiographical what makes them representative in terms of transferring the narrator’s position through the pictorial ecphrasis. In that book, paintings are not just illustrations and not visualization of ecphrasis. Pictures were introduced into the text of novels for presenting main motives and enriching stories by new images and meanings, which could not be represented by text. Colors of paintings are accentuated by color-designation words and are converged to tonality of text. Thereby a reader can interact with a writer and a painter simultaneously. After analyzing of text and pictures, the authors of the article made a conclusion about efficiency of word and picture synthesis for disclosure of the same themes in multiple artistic planes. (shrink)

Values formed in culture, reflecting social relations, fulfilling a regulatory role, are defined as norms fixed in the culture of society. Moral norms that combine such properties of morality as normativity, imperativeness and evaluativeness act as significant foundations of culture. Values and norms enshrined in culture contribute to the integration and spiritual development of society The transformational processes taking place in modern society have influence on the value system. The relevance of this study is determined by the dialectic of emerging (...) contradictions in modern Russian culture caused by the formation of ambivalent values, norms, and attitudes in mass culture that have a negative impact on collective consciousness, on changing the value foundations of culture in modern society, which jeopardizes the safety of culture. In the focus of the analyzed problem, kitsch culture as a phenomenon of mass culture acts as the subject of research. The purpose of the study is to identify threats to cultural security coming from kitsch culture, which transforms the value foundations of culture, and to identify strategies to protect Russian culture. The study of the voiced issues is carried out through the prism of socio-cultural, structural-functional, interdisciplinary approaches. The novelty of the studied problem lies in the fact that kitsch culture acts as a pseudo-culture, which is devoid of aesthetic and artistic value and moral content, as one of the sources that creates certain risks and poses threats to cultural security. In particular, we are talking about the organization of joint activities of government agencies, public organizations, scientific, cultural and educational spheres, based on the principles of optimizing the constructive impact on the consciousness of the younger generation through the mediation process and inculturation. (shrink)

We isolate two abstract determinacy theorems for games of length $\omega_1$ from work of Neeman and use them to conclude, from large-cardinal assumptions and an iterability hypothesis in the region of measurable Woodin cardinals thatif the Continuum Hypothesis holds, then all games of length $\omega_1$ which are provably $\Delta_1$ -definable from a universally Baire parameter are determined;all games of length $\omega_1$ with payoff constructible relative to the play are determined; andif the Continuum Hypothesis holds, then there is a model of (...) ${\mathsf{ZFC}}$ containing all reals in which all games of length $\omega_1$ definable from real and ordinal parameters are determined. (shrink)

Memory of historical trauma has a unique power to generate works of art. This book analyzes the relation of public memory to history, forgetting, and selective memory in Berlin, Buenos Aires, and New York—three late-twentieth-century cities that have confronted major social or political traumas. Berlin experienced the fall of the Berlin Wall and the city’s reemergence as the German capital; Buenos Aires lived through the dictatorships of the 1970s and 1980s and their legacy of state terror and disappearances; and New (...) York City faces a set of public memory issues concerning the symbolic value of Times Square as threatened public space and the daunting task of commemorating and rebuilding after the attack on the World Trade Center. Focusing on the issue of monumentalization in divergent artistic and media practices, the book demonstrates that the transformation of spatial and temporal experience by memory politics is a major cultural effect of globalization. (shrink)

This article, corresponding to a part of the restitution of a financed international research project between France, Brazil, Canada, Italy and Belgium, aims to offer a modelisation and qualitative evaluation of mediation care settings based on an original methodological tool that involves identifying the typical games at the foundations of creativity, following a multidisciplinary perspective. Therapeutic mediations are settings or devices organised around a “pliable medium”, often artistic, like painting, modeling, writing, ​and theatre, which are very widespread in institutional (...) practices, both in France and abroad. The scientific objectives of this research consist in a multi-disciplinary exploration (anthropology, criminology, neuroscience, clinical psychology) of the process of creative symbolisation understood as a process of transformation involving play. According to this orientation, play can be defined as a psychic process whereby a subjective experience can be explored with pleasure, and consequently symbolised and appropriated. Our fundamental and original hypothesis is that play is at the source of the creative process, conceived as a work of metabolisation by the psyche of playful experiences during the different stages of life. The review of the understanding of play in psychoanalysis, anthropology, criminology and neuroscience emphasises the richness of this model and the importance of reflecting on the typical games in the field of psychic care. A clinical example of treatment in a pictorial therapeutic mediation setting of a child with psychotic disorders makes it possible to identify a number of typical games as well as the modalities of interpretation of the therapists through play. These multidisciplinary studies lead to the presentation of a general table of typical games, and these first results highlight the richness of identifying typical games in clinical settings. Ultimately, the multidisciplinary approach shows the interest of the model of play in the evaluation of therapeutic mediation settings, with a convergence of the different disciplines emphasising the pertinence of this model. The scientific impact of this research overlaps with its societal impact, through the development of innovative tools for evaluating therapeutic mediations, in order to take account of the evolution of the different forms of social expression of psychic suffering. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 80-87 [Access article in PDF] The Beauty of Henri Matisse David Carrier Because beauty has for a long time now been politically incorrect (at least among certain influential critics and academic historians) the art of Henri Matisse has recently suffered from a kind of benign neglect. His goals were luxury, calm, and voluptuousness, not social critique. He painted female nudes, and was (...) preoccupied with artistic tradition. Celebrated in his own lifetime, he died a rich man. Matisse's famous identification of the work of art with a good armchair is another provocation. His paintings, after all, are very expensive armchairs. Liberated from any vital connection with everyday life, they often seem merely escapist. In her recent book, On Beauty and Being Just, Elaine Scarry remarks, "Matisse never hoped to save lives. But he repeatedly said that he wanted to make paintings so serenely beautiful that when one came upon them, suddenly all problems would subside."1 That some of Matisse's paintings succeed in being serenely beautiful seems self-evident to Scarry, to me, and to a great many other art lovers. What is perhaps worth exploring at greater length, however, is precisely how Matisse's paintings succeed in achieving their unfashionable goal. What is it that makes the work of Matisse so serenely beautiful?To start, consider The Painter and His Model (1918-1921), made just after his move from Paris to Nice. Like other works from this period of his career, this picture raises special problems, even for many commentators who admire his earlier experimentation. At the left, we see the painter working on a canvas of a nude. "Expression, for me," Matisse wrote, "does not reside in passions glowing in a human face."2 Like most of his models, this one appears expressionless. She poses at the center of the picture, beneath a window that admits the light filling the room. A flowering palm, a symbol of fertility, is the only object visible from the world outside the studio.Leaving behind his family and the luxury of his Paris home, Matisse lived and worked in a small room like this one. The entire picture is filled [End Page 80] with patterns — a red tablecloth on the left, orange wallpaper on the right, blue stripes on the painter's shirt, a red grid on the floor. A dark painting hangs above flowers on the table. The Painter and His Model shows the artist hard at work, but the composition appears effortlessly spontaneous. Matisse, who lived only to paint during his time in Nice, concealed the endless effort required to make his beautiful pictures. A man from North France, he discovered the power of light. There is nothing special about this room, but under the spell of his model Matisse makes it appear ravishing. Intense Mediterranean sunlight transforms ordinary patterns into a world of visual luxury.We know that The Painter and His Model is beautiful because we get great pleasure seeing the model in the golden room. Her skin is close in tone to, or in harmony with the colors of the walls; her curves harmonize with the two vases, and play against the spreading linear grids. As we move our eyes easily from the model to the entire picture, we experience a kind of sublimated erotic pleasure. In "Notes of a Painter," Matisse gave an apt description of his approach in The Painter and His Model. Suppose I want to paint a woman's body: first of all I imbue it with grace and charm, but I know that I must give something more. I will condense the meaning of this body by seeking its essential lines. The charm will be less apparent at first glance, but it must eventually emerge from the new image which will have a broader meaning, one more fully human. (MA, 36) He does not use the word "beauty," but speaks instead about expression and harmony. When he published this manifesto, Matisse was painting very different sorts of pictures — portraits, scenes of nudes in utopian settings, and... (shrink)

This chapter contains sections titled: Emotional Trauma The Therapeutic Power of the Blues Three ‘Clinical’ Illustrations ‐ The Role of Lyrics Musical Characteristics of the Blues Concluding Remarks Notes.