Asemic typography offers an opportunity to consider the distinction between typography in its traditional role for graphic design and how the addition of motion changes its engagement and audience comprehension for motion graphics. These differences enable a consideration of the specific problematics created by chronological development on-screen as a formal differentiator between static and kinetic typography.

Serious actualists take it that all properties are existence entailing. I present a simple puzzle about sentence tokens which seems to show that serious actualism is false. I then consider the most promising response to the puzzle. This is the idea that the serious actualist should take ordinary property-talk to contain an implicit existential presupposition. I argue that this approach does not work: it fails to generalise appropriately to all sentence types and tokens. In particular, it fails to capture the (...) right distinctions we ought to make between what I call _typographical sentence types_—an interesting and previously undiscussed class of fine-grained sentence types which are partially individuated by their typography, or how they look when written out. (shrink)

Este artigo pretende dar a conhecer as condições de criação e de produção de um conjunto de textos de vanguarda que viriam a constituir-se como marco para a poesia portuguesa do século XX: a Poesia 61, impressos e editados numa pequena cidade de província, Faro.Como são aí editados estes e outros folhetos de autores como António Ramos Rosa, E. M. Melo e Castro, Maria Teresa Horta, Casimiro de Brito, Luiza Neto Jorge ou Fiama Hasse Pais Brandão, entre outros? Para responder (...) a essa questão, interrogam-se contextos, autores e obras, mas também editores, tipógrafos e tipografias. (shrink)

Philosopher, literary critic, translator (of Nietzsche and Benjamin), Philippe Lacoue-Labarthe is one of the leading intellectual figures in France. This volume of six essays deals with the relation between philosophy and aesthetics, particularly the role of mimesis in a metaphysics of representation, and is introduced by Jacques Derrida.

We discuss the typography of the notation used by Gottlob Frege in his Grundgesetze der Arithmetik.

This English translation gathers together essays from Le sujet de la philosophie: Typographies I and L'imitation des modernes: Typographies II, along with a major essay entitled "Typographie." These essays are an inquiry into the delimitation of mimesis from Plato to Heidegger as representation or imitation "with a character of veri-similitude " [[sic]]. Concealed within the Platonic determination of Being as eidos is the filiation between "the representation of Being as figure and Darstellung, presentation... or 'literary representation'". In uncovering the (...) derivation of Gestalt and Darstellung from Ge-stell, or installation, Lacoue-Labarthe exposes the "ontological power of poiesis.... Philosophy, then, will have always been a matter of erection", that is, of fiction in the sense of installation, which is to say of mimesis as poiesis. The threat of mimesis lies in its displacement or "disinstallation of poiesis," or the productive capacity of representation so that "it proves difficult, if not impossible, to refer the thing thus installed to its truth or Being, to its idea". In the six essays that make up the book, Lacoue-Labarthe turns to Plato, Diderot, Hölderlin, Nietzsche, Reik, Heidegger, and Rene Girard, and to such topics as tragedy, music, autobiography, and the problematics of individual and national self-identification. In demonstrating how mimesis has determined philosophical thought, Lacoue-Labarthe provokes us into reconsidering our understanding of history and politics. (shrink)

In the last decades, many changes have occurred in scientific publishing, including online publication, data repositories, file formats and standards. The role played by computers in this process rekindled the argument on forms of technical determinism. This paper addresses this old debate by exploring the case of publishing processes in prehistoric archaeology during the second part of the twentieth century, prior to the wide-scale adoption of computers. It investigates the case of a collective and international attempt to standardize the typological (...) analysis of prehistoric lithic objects, coined typologie analytique by Georges Laplace and developed by a group of French, Italian, and Spanish researchers. The aim of this paper is to: 1) present a general bibliometric scenario of prehistoric archaeology publishing in continental Europe; 2) report on the little-known typologie analytique method in archaeology, using publications, archives, and interviews; 3) show how the publication of scientific production was shaped by social (editorial policies, support networks) and material (typography features and publication formats) constraints; and 4) highlight how actors founded resources to control and counterbalance these effects, namely by changing and improving publishing formats. (shrink)

_ Source: _Volume 37, Issue 1, pp 68 - 108 This essay proposes an exercise of detailed and contextual reading of the Erasmian adage _Festina lente_, which contains a cultural diagnosis of Aldus Manutius as a prominent historical actor within a motley Venetian cohort of printing _personae_ ranging from humanists to street peddlers. While the central sections are taken, successively, by Roman antiquarian themes, bibliophilic assessment, and the epistemic problem of _marginalia_ in a Byzantine lexicon consulted by Erasmus while in (...) Venice, the introduction and conclusion further expand the results of this localized inquiry by raising the early modern problem of expertise and following the idea of Herculean printing in Erasmus as a pedagogical and philosophical model. (shrink)

The typographic matchmaking in the city" book offers a brief range of essays that discuss the complex topic of public space from their respective authors' individual experiences and perspectives. Through specific anecdotes, they elucidate the problematics and implications of designing for 'public space' and multicultural communities. These essays frame and contextualize the research and designs presented by the five teams participating in the 'Typographic Matchmaking in the City project. They briefly shed light on the function and role of text in (...) architectural spaces, discussing specific historical and contemporary examples from cities like Beirut, Dubai, Muscat, Cairo, Rotterdam and Amsterdam, and addressing the various roles of monumental typography in public space. (shrink)

From inspiration to classicism, a new approach to knowledge.

A aliança entre a Filologia e a História do Livro é indiscutível, do ponto de vista metodológico, e valiosíssima para a compreensão mesológica de qualquer edição, sendo certo que nenhum livro se publica sem estar inscrito numa dada moldura ecológica da cultura. Por isso mesmo, ultrapassando os limites próprios da actividade bibliográfica, o historiador do livro não pode prescindir da leitura dos textos que se escondem sob a opacidade do objecto livro.

Jacques Derrida is probably the most famous European philosopher alive today. The University of Nebraska Press makes available for the first English translation of his most important work to date, Glas. Its appearance will assist Derrida's readers pro and con in coming to terms with a complex and controversial book. Glas extensively reworks the problems of reading and writing in philosophy and literature; questions the possibility of linear reading and its consequent notions of theme, author, narrative, and discursive demonstration; and (...) ingeniously disrupts the positions of reader and writer in the text. Glas is extraordinary in many ways, most obviously in its typography. Arranged in two columns, with inserted sections within these, the book simultaneously discusses Hegel’s philosophy and Jean Genet’s fiction, and shows how two such seemingly distinct kinds of criticism can reflect and influence one another. The customary segregation of philosophy, rhetoric, psychoanalysis, linguistics, history, and poetics is systematically subverted. In design and content, the books calls into question “types” of literature (history, philosophy, literary criticism), the ownership of ideas and styles, the glorification of literary heroes, and the limits of literary representation. (shrink)

Fake news has been the focus of debate, especially since the election of Donald Trump (2016), and remains a topic of concern in democratic countries worldwide, given (a) their threat to democratic systems and (b) the difficulty in detecting them. Despite the deployment of sophisticated computational systems to identify fake news, as well as the streamlining of fact-checking methods, appropriate fake news detection mechanisms have not yet been found. In fact, technological approaches are likely to be inefficient, given that fake (...) news are based mostly on partisanship and identity politics, and not necessarily on outright deception. However, as disinformation is inherently expressed linguistically, this is a privileged room for forensic linguistic analysis. This article builds upon a forensic linguistic analysis of fake news pieces published in English and in Portuguese, which were collected since 2019 from acknowledged fake news outlets. The preliminary empirical analysis reveals that fake news pieces employ particular linguistic features, e.g. at the levels of typography, orthography and spelling, and morphosyntax. The systematic identification of these features, which will allow mapping linguistic resources and patterns used in those contexts, contributes to scholarship, not only by enabling a streamlined development of computational detection systems, but more importantly by permitting the forensic linguistics expert to assist criminal investigations and give evidence in court. (shrink)

Rhetoricians usually consider Plato's Republic as a work dedicated to political philosophy. As such, it is ostensibly antidemocratic and thus antirhetorical. But if we focus on the reason for the political allegory—the investigation of justice in the soul—it is clear that Plato is interested in Burke's question: “What is involved, when we say what people are doing and why they are doing it?” Accordingly, this article employs the terms of Burke's pentad in order to articulate the rhetorical significance of Plato's (...) own drama of psychic motivation. Ultimately, I read the degenerating constitutions of the Republic as a rhetorical typography that not only identifies audience types and how to influence them, but also offers a map of psychic transformation that addresses Socrates's famous challenge to rhetoric in the Phaedrus. (shrink)

Obviously enough the tongue, the spelling, the typography, the verbosity of a description reflect no parallel features in the world. Coherence is a characteristic of descriptions, not of the world: the significant question is not whether the world is coherent, but whether our account of it is. And what we call the simplicity of the world is merely the simplicity we are able to achieve in describing it.

The Elementary Forms Of The Religious Life: Translated From The French By Joseph Ward Swain, M.A. This book is a result of an effort made by us towards making a contribution to the preservation and repair of original classic literature. In an attempt to preserve, improve and recreate the original content, we have worked towards: 1. Type-setting & Reformatting: The complete work has been re-designed via professional layout, formatting and type-setting tools to re-create the same edition with rich typography, graphics, (...) high quality images, and table elements, giving our readers the feel of holding a 'fresh and newly' reprinted and/or revised edition, as opposed to other scanned & printed (Optical Character Recognition - OCR) reproductions. 2. Correction of imperfections: As the work was re-created from the scratch, therefore, it was vetted to rectify certain conventional norms with regard to typographical mistakes, hyphenations, punctuations, blurred images, missing content/pages, and/or other related subject matters, upon our consideration. Every attempt was made to rectify the imperfections related to omitted constructs in the original edition via other references. However, a few of such imperfections which could not be rectified due to intentional\unintentional omission of content in the original edition, were inherited and preserved from the original work to maintain the authenticity and construct, relevant to the work. We believe that this work holds historical, cultural and/or intellectual importance in the literary works community, therefore despite the oddities, we accounted the work for print as a part of our continuing effort towards preservation of literary work and our contribution towards the development of the society as a whole, driven by our beliefs. We are grateful to our readers for putting their faith in us and accepting our imperfections with regard to preservation of the historical content. HAPPY READING! (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Place for Healing:A Hospital Art Class, Writing, and a Researcher's TaskJulia Kellman (bio)Introduction[O]bjects transform the top of our chest into a site of memory. I think of private landscapes like this one as querencias, places that hold the heart. The word has been translated as homing instinct and affection. Expatriate Alastair Reid introduced me to it in 1965, writing about the Spanish bullfight in The New Yorker. After (...) the first wound the bull chooses his querencia, the place in the ring where he returns for a moment to rest before the fight goes on, and where he finally dies. Querencia comes from the common Spanish verb querer; among its many meanings are to love, to want, to hold, and to command. Reid spoke of hometowns and native countries as querencias; exiles cling to their memories of them.1Place, "space that has the capacity to be remembered and to evoke what is most precious,"2 by its nature orients us to a particular perspective, to a way of looking at the world. Each place has its own local accent, its own constellation of habits, its own rhythm of language and thought. We are grounded in landscape in the same manner that we are situated in our social world, imprinted like other creatures on a typography, pattern of weather, cycle of seasons, scents, and colors.3Our hearts, too, are embedded in such places; and in this article, through this "act of personal witness," this "inscription of a self and a description of an object" as the anthropologist and writer Ruth Benhar4 describes it, we will see how the members of an art class for people with HIV/AIDS at a local hospital have similarly become grounded in their art space and in the tiny art community that has grown up around it. Additionally, we will discover the importance of a more descriptive style of writing as means for examining the role of art in the lives of people who are ill, for their various difficult [End Page 106] situations call for particular clarity and empathy that both honors and relates the stories of their lives. It will become clear as this article proceeds that the personal engagement of a researcher/writer in such a situation is critical as well. For not only must she be open—vulnerable, as Behar suggests—to the people with whom she works as a means of spanning the chasm between a life of illness and a life of health, but she must also be sensitive to the reader's needs, for she is the reader's guide and surrogate.5 This role as guide and alter-ego demands that the researcher tell the story of other lives in a manner that enables the reader to empathetically and eagerly undertake a journey with the researcher into a world unlike her own.6Personal Engagement: The Researcher/WriterHoward Brody, doctor and medical ethicist, explains the necessity for stories of illness to be descriptive.7 He asserts that the stories in which we are most interested are not merely factual recitations; they are about what the illness means to the individual—they include how that person understands events. "It is far too simple-minded" he writes, to assume that "the writer of literature presents to us a world of fantasy that never existed whereas the author of a nonfictional pathography has some special insight into the world as it really exists, even if the relevant world is nothing but his own subjective experiences."8 He concludes "in stories of that sort (stories of the meaning of things) the line between so-called truth and fiction becomes more blurred and ceases to affect the uses we make of the stories for the deeper understanding of the human response to illness."9 Further, Brody continues, one must understand stories of sickness in order to truly develop a philosophical understanding of what it means to be ill. Such an understanding, Brody suggests, not only provides ethical guidance for health care workers and others but also will lead to improved care for patients and better education of health professionals.10 This view of... (shrink)

Shaftesburys Dialog «The Moralists», ein Schlüsseltext der englischen Literatur und Ästhetik des frühen achtzehnten Jahrhunderts, ist bisher nur ideengeschichtlich interpretiert worden. Die vorliegende Studie zeichnet anhand weitgehend unbekannter Quellen aus dem Shaftesbury-Nachlass zum erstenmal die ebenso langwierige wie komplizierte Genese und Druckgeschichte des Textes nach. Shaftesburys hier erstmals veröffentlichte Briefe und Anweisungen an den Drucker und Verleger John Darby werfen neues Licht auf den Wandel der Typographie und der Buchgestaltung in der Epoche des englischen Neoklassizismus.

In the beginning Weiss had no intention of publishing his journal, at least not during his lifetime. But urged by friends, colleagues, and an inspired press director, he has so far published two volumes of his journal, exceeding 1500 pages, and he promises still more. Unrevised, except for minor corrections of typography, grammar, and rhetoric, Weiss's daily jottings began in 1963 to appear quarterly as fascicles, bearing the title, Philosophy in Process. Each fascicle was 64 pages in length, and consisted (...) of dated entries of varying length, some fascicles beginning and ending in the middle of sentences. Twelve fascicles were published; these were subsequently collected and, in early 1966, were published in hardcover format as Philosophy in Process: Volume 1: 1955-1960. Volume 2: 1960-1964, published in late 1966, appeared all in one piece. In the Preface to Volume 2 Weiss says that, while writing the journal was initially incidental to writing books, it had become, at least during the composition of the second volume, his "major concern." Consequently, the second volume, in contrast with the first, "consists of sustained discussions carried out almost daily.". (shrink)

The renowned occult scholar Arthur Edward Waite left no stone unturned when preparing this meticulously researched volume on the life and works of the French mystic Louis Claude de Saint-Martin. Drawing on contemporary biographies, correspondences, and all the source materials that were available to him at the time, he put together a biography and summary of Saint-MartinÍs work that is still unsurpassed to this day. This edition is presented with modernised typography and a new and expanded index.

Creative Unity This book is a result of an effort made by us towards making a contribution to the preservation and repair of original classic literature. In an attempt to preserve, improve and recreate the original content, we have worked towards: 1. Type-setting & Reformatting: The complete work has been re-designed via professional layout, formatting and type-setting tools to re-create the same edition with rich typography, graphics, high quality images, and table elements, giving our readers the feel of holding a (...) 'fresh and newly' reprinted and/or revised edition, as opposed to other scanned & printed (Optical Character Recognition - OCR) reproductions. 2. Correction of imperfections: As the work was re-created from the scratch, therefore, it was vetted to rectify certain conventional norms with regard to typographical mistakes, hyphenations, punctuations, blurred images, missing content/pages, and/or other related subject matters, upon our consideration. Every attempt was made to rectify the imperfections related to omitted constructs in the original edition via other references. However, a few of such imperfections which could not be rectified due to intentional\unintentional omission of content in the original edition, were inherited and preserved from the original work to maintain the authenticity and construct, relevant to the work. We believe that this work holds historical, cultural and/or intellectual importance in the literary works community, therefore despite the oddities, we accounted the work for print as a part of our continuing effort towards preservation of literary work and our contribution towards the development of the society as a whole, driven by our beliefs. We are grateful to our readers for putting their faith in us and accepting our imperfections with regard to preservation of the historical content. HAPPY READING! (shrink)

What interests us and claims our attention in Nazism is, essentially, its ideology, in the definition Hannah Arendt has given of this term in her book on The Origins of Totalitarianism. In this work, ideology is defined as the totally self-fulfilling logic of an idea, an idea “by which the movement of history is explained as one consistent process.” “The movement of history and the logical process of this notion,” Arendt continues, “are supposed to correspond to each other, so that (...) whatever happens, happens according to the logic of one ‘idea.’”2Ideology, in other words, interests us and claims our attention insofar as, on the one hand, it always proposes itself as a political explanation of the world, that is, as an explanation of history on the basis of a single concept—the concept of race, for example, or the concept of class—and insofar as, on the other hand, this ideological explanation or conception of the world seeks to be a total explanation or conception. This totality signifies that the explanation is indisputable, leaving neither gaps nor remainders—unlike philosophical thought, from which ideology shamelessly draws the greater part of its resources but which is characterized by a risky, problematic style, what Arendt calls the “insecurity” of philosophical questioning . 2. Hannah Arendt, The Origins of Totalitarianism , p. 469; hereafter abbreviated OT. Philippe Lacoue-Labarthe and Jean-Luc Nancy teach at the University of Human Sciences of Strasbourg, France, and are also visiting professors at the University of California, Berkeley. They are coauthors of The Literary Absolute and, related to the topic of politics, “The Jewish People Don’t Dream” . Lacoue-Labarthe is also the author of Typography and La Fiction du politique . Nancy has written “Sharing Voices” in Transforming Hermeneutics and La Communauté désoeuvrée . Brian Holmes is a doctoral candidate in romance languages and literatures at the University of California, Berkeley, and editor of the journal Qui Parle. He is currently at work on the parody of authorial identity in Cervantes and Flaubert. (shrink)

Given that an analysis of disposition ascription cannot be made in terms of a simple subjunctive conditional, we present a multiply qualified conditional analysis that places disposition ascription within an implicit fundamental causal conceptual typography within which a disposition ascription is embedded, framed, and understood. By placing the multiply qualified analysis within an implicit causal matrix involving a focal cause, pathway of influence, mechanism of action, contributing/partial cause, mediator, extrinsic moderator,, intrinsic moderator, and manifestation, we show how this analysis evades (...) counterexamples and arguments raised against the simple conditional analysis. We then indicate how the causal conceptual landscape provides a roadmap for unpacking and explicating parameters of the ceteris paribus qualifier to acquit the analysis of charges of being vacuous or irredeemably vague. (shrink)

"Cover"--"Title" -- "Copyright" -- "Dedication" -- "Contents" -- "List of Figures" -- "Acknowledgements" -- "1 Introduction" -- "Limina" -- "Anticipation and Recapitulation" -- "Problems of Cinematic Paratext" -- "2 Narrative Exposition" -- "Pseudo-independence" -- "Intratextuality" -- "3 Expositional Modes" -- "The Allegory Mode" -- "Lexical Expertise" -- "4 The Comment Mode" -- "Narrative Futurity" -- "Intertextuality and Quotation" -- "5 The Summary Mode" -- "Complex Summary" -- "Narrative Restatement" -- "6 The Prologue Mode" -- "Realist Integration" -- "Expository Texts" -- (...) "7 Conclusions" -- "The Paradoxes of Cinematic Paratext" -- "Typography and Pseudo-independence" -- "The Ideology of Naturalism::Stylization. (shrink)

The increased distribution of fake news on internet and social media raises concerns for democratic processes. Sometimes, argumentation in deceptive information is built on numbers, which gives reason to include mathematics when working with fake news in education. In this paper, I suggest a tool to facilitate students’ critical thinking related to numbers, or other mathematical representations, presented in the media. It may not be straight forward, or even possible, to judge the validity of presented numbers, or whether numbers are (...) used with the intention to deceive. Complex topics are associated with uncertainty, which implies that numbers may be questionable without hidden intentions, and that evaluating a number’s relevance may be quite challenging. The developed tool consists of a set of questions to help reflecting on the validity of numbers, which again is developed into categories reflecting degrees of validity and whether the mathematical representation has a deceptive role. The categories are illustrated with examples from the media and from a classroom situation in teacher education to indicate how the tool can help raise critical questions. The developed categories are based on academic literature on fake news, typographies of uncertainty and on critical mathematics education. (shrink)

Comment l’art vient-il aux personnes, aux objets, aux activités? Comment passe-t-on d’une activité quelconque à un art, d’un simple artefact à une oœuvre et d’un praticien à un artiste? C’est cette opération qu’explore ce livre, sous le nom d’« artification » : un déplacement durable et collectivement assumé de la frontière entre art et non-art. Conditions pratiques, techniques, sémantiques, juridiques, institutionnelles, organisationnelles... Les enquêtes réunies ici explorent ces différentes dimensions avec les outils de la sociologie pragmatique, attentive à la matérialité (...) des actions observées en situation. Le lecteur circulera ainsi de la danse hip-hop à la photographie, du graf aux métiers d’art, de l’art naïf à l’art brut, des arts primitifs au théâtre, du cirque à la magie, de la typographie au cinéma, de la mode aux objets de culte et de la bande dessinée au patrimoine. Et c’est au terme de ce petit voyage en artification qu’il aura enfin réponse, précisément, à la question : quand y a-t-il art? (shrink)

A draft copy of this article, dated 13th February 1988, was given by Tony Manser in 1989 to Stewart Candlish, who has edited it for publication in Bradley Studies in the hope that the finished result will not only be of value to students of Bradley and Russell but also stand as a worthy memorial to a valued colleague and friend. Editing has been confined to a minimum, such as correcting errors in punctuation, quotation, referencing and typography; no attempt has (...) been made to alter the substance of any of the original version. The article is published with the kind permission of Jutta Manser. (shrink)

Cet ouvrage porte sur la notion de surface, ses plans, ses dimensions et ses propriétés, mais surtout sur ses fonctions dans l'univers artistique. Dès les premiers collages cubistes, ce sont les avant-gardes du début du XXe siècle qui ont fait de cette entité l'élément principal de l'art, de ses opérations et de ses visions. Avec l'invention du cinématographe, du phonographe, et la nouvelle typographie, elle a été repensée en profondeur, vouée à une existence renouvelée au travers de procédés artistiques (...) comme le collage et le montage. C'est dire qu'elle n'a rien d'une catégorie figée et qu'il s'agit d'en faire l'histoire en même temps que la théorie. C'est ce à quoi s'attache cette étude, véritable traversée des avant-gardes occidentales (arts plastiques, cinéma, théâtre, poésie) élaborée au filtre d'une logique des surfaces généralisée. De Picasso à Abel Gance, de Braque à Fernand Léger, d'Apollinaire à Eisenstein, c'est tout un pan de la pensée et de la création qui est ici mis puissamment en perspective au moyen d'analyses aussi précises dans la saisie de leurs objets que dans la traversée de la littérature qu'ils ont suscitée. On y découvrira non seulement une nouvelle histoire des avant-gardes, largement critique par rapport à l'approche formaliste des surfaces (celle de Clement Greenberg notamment), mais aussi une nouvelle histoire de la quatrième dimension, enjeu majeur d'un grand nombre de travaux modernistes. Des surfaces donc ou d'une vision profondément renouvelée du sens et des effets de la création."--back cover. (shrink)

This thesis, titled ‘Across May ’68; Reading friendships in Jacques Derrida’s Dissemination and Glas’, challenges the claims of a ‘political turn’ occurring for only the first time in Jacques Derrida’s writings in the 1980s, with many citing his ordeal in Prague in 1981 as catalysing this turn. While his writings may be thought to become more explicit in the 1980s and 1990s—a turbulent decade that indeed encompassed polemics against and, even within, the coterie of Deconstruction, over the Paul de Man (...) and Martin Heidegger revelations —Politics of Friendship, and Spectres of Marx being examples, this leaves much of his earlier work unconsidered in terms of its impact on Derrida’s later political outlook. The thesis rereads and contextualises two texts, 1972’s Dissemination and 1974’s Glas, in conjunction with a selection of contemporaneous essays, reading these retrospectively through Politics of Friendship and Spectres of Marx, and traces Derrida’s diverging relationships with Philippe Sollers and the journal Tel Quel, against the intense political period in France now known as ‘May 1968’. My thesis reads in chronological order each essay from Dissemination as representing stages of a developing written praxis Derrida will call ‘dissemination’, arguing that, in the context of his relationship with Sollers and Tel Quel, the text Dissemination marks the political hinge in his writings, constitutive of a radical supplementary political praxis that, ultimately, did not finish even with his departure from Tel Quel in early-1972 but continued some years after in his work in providing a vital impetus to the writing of Glas. My thesis provides a socio-historical and political context to Derrida’s philosophy—from the time of his working in tandem with Sollers, through to writing as a supplementary political praxis to Tel Quel following his departure. In ‘Plato’s Pharmacy’. My thesis traces, in the Polis, a link between writing and political friendships and ‘phallogocentrism’. The thesis connects ‘Double Session’ and its discussions of Mallarmé’s ‘mimicry without referent’ to Derrida’s interrogation into then-current modes of philosophico-literary writing; especially those of Tel Quel. The thesis then reads ‘Dissemination’ and its review/rereading of Sollers’ 1968 novel Numbers—which is itself a text informed by the intellectual reactions and reflections to the politicised context of 1960s Paris. Derrida ‘opens’ Numbers, dissipating its ideological fervour for a political community that is inherently homogeneous and closed to the ‘other’, by placing key motifs in the text under chiasma, opening up its writing to the infinite ‘otherness’ of metaphysics. My thesis reads ‘Outwork’ as a discussion of writing that unravels demarcations and limits between inside and out. In doing so, I argue, Dissemination anticipates the multi-surfaces and margins of Glas and its discussion of stratified politics limits. My thesis reads Glas as a culmination and perpetuation of the praxis developed in Dissemination that proposes a political encounter of the ‘other’ based upon distance as well as proximity, and dialogue through its paratextual and symbolic typography. Glas is read as antecedent of a deconstructed political community, an ethics, and a responsibility that gestures an openness to dialogue with Sollers and Tel Quel, while also disproving Derrida’s purported political silence around May 1968. My thesis argues Glas is open to futurity, hopeful for a renewed political encounter, even if this involves a betrayal of the very notion of friendship for the sake of an-other friendship not tied by bonds of political solidarity, and ultimately reactionary aspirations for a shared communitarian project that, inevitably, represses difference. The thesis argues that this period initiates the emergence of a deconstructed politics by Derrida based upon a profound understanding of the structures underpinning the popularist riots—particularly as a re-evaluation of the Marxist and Maoist discussions that were prevalent in the intellectual reactions to the period. (shrink)

Voici un livre à deux voix, où s’entrelacent en un dialogue (rendu sensible par des typographies contrastées) les réflexions d’une grande historienne de la maternité et celles d’un gynécologue obstétricien d’aujourd’hui. Il s’agit de comprendre les profondes transformations de la procréation et de la naissance dans nos sociétés en revenant sur l’histoire longue des croyances et des pratiques autour de la grossesse et de l’accouchement. Même s’il n’est pas question de proposer un retour à l’an...

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 65.1 (2004) 155-157 [Access article in PDF] In Memoriam John F. Callahan John Francis Callahan, Professor Emeritus of Philosophy and Classics at Georgetown University, died 14 July 2003 after open-heart surgery performed 6 June and was buried with full military honors 17 September at Arlington National Cemetery. His funeral Mass at the Old Post Chapel was concelebrated by his old friend and former (...) colleague, Father Edward W. Bodnar, S.J., who had also concelebrated a memorial Mass in the Jesuit Chapel at Georgetown 5 August.John served on the Board of Editors and the Board of Directors of the Journal of the History of Ideas from 1970 until his death and was Vice-President from 1985. Throughout thirty-three years, during which he never missed a meeting until the last, he devoted unstinted time and energy to the affairs of the Journal, rigorously scrutinizing every problem, from matters of editorial policy through changes in leadership, location, and membership on the Editorial Board to proposals for expenditures and questions of format and style. He was a meticulous reader of manuscripts and applied the most stringent standards to his consideration of both content and modes of expression. No mistake in Greek typography escaped his vigilance. He brought to the annual meetings a distinctive elegance and an unusual sense of collegiality that derived both from his devotion to the Journal itself and from his long friendship with some of the older members of the Board, such as Paul Kristeller and Richard McKeon.John was a life member of the American Philological Association (since 1940) and served with distinction from 1976 to 1986 as its delegate to the International Federation of Classical Studies (FIEC), attending its meetings in Budapest and Helsinki. A scholar of exceptionally wide-ranging interests, he was best known for his studies of the concept of time in ancient philosophy and his critical edition of Gregory of Nyssa, De oratione dominica et De beatitudinibus, which he completed at Dumbarton Oaks after he retired from Georgetown.Born in Chicago 13 May 1912, he began the study of Greek and Latin at St. Ignatius Prep, where he was also introduced to opera, a lifelong passion, by one of his Jesuit teachers. He received the A.B. in 1933 and the A.M. in 1934 from Loyola University, Chicago, which on Founder's Day, 1965, honored him with an award for distinguished contributions to classical scholarship. He received the Ph.D. in 1940 from the University of Chicago, where he studied with Richard McKeon and Werner Jaeger, the two principal, very different influences on his approach to philosophy and philology. Henry Prescott and Carl Darling Buck were two other members of that fabulous generation of classical scholars at Chicago who made a lasting impression on him. His interest in Plautus, Greek and Roman linguistics, and comparative grammar continued throughout his life, contributing to what a former colleague at Dumbarton Oaks has described as an uncanny ability to penetrate beneath the surface of the classical languages, to "peer into their deep structure."John was a Teaching Fellow at the University of Chicago, 1936-37, Instructor at Loyola University, 1937-40, Visiting Instructor, Harvard University, 1940-41, Assistant Professor, Loyola University, 1941-43, Associate Professor and Professor of Classics and Philosophy, Georgetown University, from 1946 until he retired in 1978, and Project Director at Dumbarton Oaks, Harvard University, 1977-86. He served in the United States Navy from 1943 to 1946, working in Naval Communications. He rarely [End Page 155] spoke of his part in breaking the Japanese code, but often referred to such comrades in arms as Sam Atkins and Richmond Lattimore, who like him returned to teaching as soon as World War II was over.John's teaching was enriched by his research, which was supported by a notable succession of fellowships, from the Rockefeller Foundation in 1947, the Ford Foundation for the Advancement of Education, 1953-54, the Fulbright Commission, 1953-55, the Guggenheim Foundation, 1958-59, and the National Endowment for the Humanities, 1967. He... (shrink)

Biographical novels about historical women artists have been experiencing a veritable boom in recent years. Written mostly by women, they can be understood as women authors’ attempts to reach out across time to other “artistic” women whose lives “speak to us” today. It has long been a key insight of historical fiction research that a historical novel reveals more about the time in which it was written than the time in which it is set. As such, it can be assumed (...) that contemporary novels about historical women speak as much to twenty-first-century conceptions of femininity as to particular historical moments of female subjectivity. This paper will compare two novels about historical women artists: Janice Galloway’s Clara about nineteenth-century German pianist Clara Wieck-Schumann and Priya Parmar’s Exit the Actress about Restoration actress Nell Gwyn. While based on historical facts, both these novels use the greater freedom of fiction to depart from biographical conventions. It will be demonstrated that although they resemble each other on the discourse level, employing shifts in the narrative perspective, conspicuous typography, and graphic elements, they differ markedly in the biographical and fictional subgenres in which they participate and, hence, in their gender politics. (shrink)

Today, knowledge on ideal text legibility and high-quality typefaces support fast reading and are accessible to almost everybody who uses a computer. Instead of accelerating the reading process, the kind of typography discussed in this article invites the observer to play in order to catch attention and go beyond the sheer process of reading. Text, which tricks our perception, is observed more intensely than usual ones. Roman Terpitz’ exhibition poster (Figure 1) and the typeface Wirefox (Figure 2) demonstrate how this (...) works in static images. Currently, there is quick growth of still and moving images. Flickering screens catch attention while their content is exchangeable anytime. Hand-held devices like smart phones, touch pads or large, facade-covering LED billboards allow text to be convertible over time. The experiment Dancing type (Figure 3) shows how animated characters can change between text and texture. Words reveal out of a graphical structure and immediately dissolve afterwards. This claims the observer’s attention. This article will introduce and analyse a typography that leads to questions like where it could be used beyond advertising, which applications make sense, if it could improve communication qualities of certain texts and how it can add benefits to current screen technologies. (shrink)

Martin Heidegger was engaged in a continual struggle to find words - new words, both descriptive and analytical - for his radical form of philosophy. This tendency can be traced from Being and Time, where he elaborated an entirely new vocabulary for his ontological enquiry; to Contributions to Philosophy, which saw him committed to a transformation of language; to later essays on poets such as Rilke and Trakl in On the Way to Language. The Writing of Aletheia is the first (...) study to appear in either English or German that provides a full account of Heidegger's language and writing style. Focusing not only on his major philosophical works but also on his lectures, public talks and poetry, this book explores the complex textuality of Heidegger's writing: the elaborate chains of wordplay and neologistic formations; the often oblique, circuitous and regressive exposition of his ideas; the infamous tautologies; the startling modification of grammatical rules and syntax; the idiosyncratic typography of his texts; the rhetorical devices, imagery and symbolism; and the tone and voice of his writing. All of these aspects betray not only his will to structure and his assertiveness but also his ongoing self-questioning and reflectiveness about the ultimate goal of his philosophical quest. (shrink)