De un modo u otro, la cuestión de la amistad siempre resuena en las páginas de Nietzsche. De un modo u otro, también nos enfrentamos con su obra desde las posibilidades que esa cuestión brinda al pensamiento, posibilidades que, tal vez, nos coloquen en la paradoja de la imposible amistad con la misma filosofía de Nietzsche.

This article tries to explore the shifts in contemporary urban Bengali cinema and map and historicize the main trends in relation to changes in the political fortunes of the city. In this context, the article tentatively wishes to accomplish two things: one, to show the main trends in urban Bengali film-making, post-1990s; and two, to read closely two recent Bengali films, in a search for ways of mapping this newness. The article first identifies three new possibilities in Bengali cinema: first, (...) the inward-looking, often apolitical sketches that celebrate liberal development and psychosomatic indulgences, second, the sentimental, community-based films that sometimes take political changes on board as well, and attempt to bridge the rural-urban divide; third, cult-ish films of a newer pedigree that show impatience with old Left and progressive values, and are also technically experimental and avant-garde. The second objective of the article is to discuss specifically two contemporary filmmakers – Moinak Biswas and Suman Mukhopadhay – and place their films within this ferment. (shrink)

I suggest that the representation of cities in Indian cinema — the effects and affects of modernities as well as of ambiguous, multiplicitous sexualities — mark significant change in engagement with modernity ever since independence in 1947. The city in the Indian imaginary has occupied an ambivalent, confrontational as well as contemplative space that signifies ‘modernity’ and its concurrent promise as well as ills. Non-normative sexualities have always occupied a liminal space in socio-political configurations, a site both of empowerment through (...) transgression and containment through regulation. The urban space — newly freed up and as yet un-proscribed — assumes the metonymic equivalence of available sexual freedom (particularly for women), its powers and its dangers. The cinema as a text is especially well-suited to play with the dynamics of this fraught space: often, a film’s contexts and narratives identify the film text itself as a signifier of the liminal spaces that it proposes to explore, enacting both their limitations and their possibilities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Building Literacy Bridges for Adolescents Using Holocaust Literature and TheatreWayne Brinda (bio)IntroductionDo you have a sibling or best friend whom you dared to do something? Did you ever slip surreptitiously into a place where you should not be? What if your best friend or sibling later became your enemy because of a situation beyond your control? Could that happen? What would you do? Think about those questions as (...) you read this excerpt from In My Brother's Image: Twin Brothers Separated by Faith after the Holocaust and visualize the action:The boys look more alike than brothers. In fact, they are identical twins, indistinguishable in the smooth innocence of their faces, their wide brown eyes, and their hair, nearly shaven to their scalps to thwart the summer heat... At the entrance to the grand church of St. Stephen's Basilica in Budapest, the boys slip surreptitiously through the six-inch-wide opening of the formidable oak middle door, with its inlaid bronze portraits of the Hungarian kings. They giggle gleefully and a bit nervously as they peer into the dimly lit chamber, which feels refreshingly cool in contrast to the scorching afternoon sun they have just escaped. The twins mimic and build on each other's playful daring. Even their spirited laughter is identical, punctuated by squeals of delight... Let's go find his hand. What? St. Stephen's hand. I heard that his hand is kept in a golden box behind the altar somewhere. Let's go find it. No. We're not supposed to be back there. That's the craziest thing I ever heard—a king's hand inside a box in a church. He must have been pretty mad when they cut his hand off.1 [End Page 31]This small theatrical imaginative experience begins the adventure of two twin Hungarian Jewish boys who became caught up in World War II, the Holocaust, communism, and the aftermath.Those two boys became the father and uncle of the author, Eugene Pogany, who wrote In My Brother's Image: Twin Brothers Separated by Faith after the Holocaust. Pogany recalls and tries to reconcile their experiences, differences, and conflicts with each other that lasted a lifetime and beyond. As educators and those who work with adolescents, we seek to reconcile the past experiences and conflicts our students have with reading by finding strategies that bridge adolescents and literature. Two powerful tools for building such bridges are nonfiction literature written about the experiences of young people and adults during and after the Holocaust and using theatre to bring these stories to life.McEwan noted that as literature becomes complex, adolescents tend to struggle with comprehension and may forgo the idea of discovering enjoyment.2 Incorporating nonfiction stories from the Holocaust with innovative theatre experiences of the literature into the curriculum can engage students in literature with complex themes, characters, and plots. This is especially true when the learning is assessed by using projects developed by, with, and for young adolescents. As a result, the literature becomes comprehensible, accessible, relevant, enjoyable, and aesthetically stimulating.As an educator, researcher, and artistic director of a theatre for young adults, I reflect on the charge by Snow and Biancarosa that educators need to "figure out how to ensure that every student gets beyond the basic literacy skills of the early-elementary grades, to the more challenging and more rewarding literacy of the middle and secondary school years."3 For some students, literacy bridges are gateways to new worlds, skills, and possibilities for enjoyment. For students who struggle with reading, those bridges are obstacles they are afraid or even refuse to cross because of past fears or failures. Even with guidance and support, many students will stop reading when the text becomes complex or never even attempt to read the book when they decide it has no relevancy or purpose after looking at its title, skimming the back, looking for pictures, or counting the pages.This leads to a question and thoughts that inspired my research on using Holocaust literature and theatre to engage young students in discovering, comprehending, visualizing, and aesthetically enjoying the literary experience:• What can be done in the... (shrink)

The New Evil Demon problem has been hotly debated since the case was introduced in the early 1980’s (e.g. Lehrer and Cohen 1983; Cohen 1984), and there seems to be recent increased interest in the topic. In a forthcoming collection of papers on the New Evil Demon problem (Dutant and Dorsch, forthcoming), at least two of the papers, both by prominent epistemologists, attempt to resist the problem by appealing to the distinction between justification and excuses. My primary aim here is (...) to critically evaluate this new excuse maneuver as a response to the New Evil Demon problem. -/- Their response attempts to give us reason to reject the idea that victims of the New Evil Demon have justification for believing as they do. I shall argue that this approach is ultimately unsuccessful, however much of value can be learned from these attempts. In particular, progress in the debate can be made by following those who advance the excuse maneuver and make explicit the connection between epistemic justification and epistemic norms. By doing so, the questions being debated are clarified, as is the methodology being used to attempt to answer them. (shrink)

There are various equivalent formulations of the Church-Turing thesis. A common one is that every effective computation can be carried out by a Turing machine. The Church-Turing thesis is often misunderstood, particularly in recent writing in the philosophy of mind.

This article tries to explore the shifts in contemporary urban Bengali cinema and map and historicize the main trends in relation to changes in the political fortunes of the city. In this context, the article tentatively wishes to accomplish two things: one, to show the main trends in urban Bengali film-making, post-1990s; and two, to read closely two recent Bengali films, in a search for ways of mapping this newness. The article first identifies three new possibilities in Bengali cinema: first, (...) the inward-looking, often apolitical sketches that celebrate liberal development and psychosomatic indulgences, second, the sentimental, community-based films that sometimes take political changes on board as well, and attempt to bridge the rural-urban divide; third, cult-ish films of a newer pedigree that show impatience with old Left and progressive values, and are also technically experimental and avant-garde. The second objective of the article is to discuss specifically two contemporary filmmakers – Moinak Biswas and Suman Mukhopadhay – and place their films within this ferment. (shrink)

The abilities to read, to write, and to compute are of crucial importance. Students who cannot read, write, or compute are in deep trouble. But important though these skills are, they do not encompass all of what people know or the ways in which what they know. An innovative literacy/theater project implemented in two sixth-grade classrooms of a high-poverty, urban, western Pennsylvania middle school was designed to help urban teachers address aliteracy by engaging their students in the discovery of three (...) young adult novels.1 The project was built on a partnership with a semiprofessional theater company that produced adaptations of the literature and designed instructional support materials to meet .. (shrink)

Philosophy of history is analyzed here from the point of its epistemological and ontological meaning. The author considers that the ontological point of view makes it possible to conceptualize the history as the unity of its all times - Past, Present and Future. The connection between these three times based on their relation to the concept of Eternity which has been symbolically formed within the mythological, religious and utopian Weltanschauung. The necessity of these relations transforms philosophy of history into a (...) special kind of ontological historical knowledge. The study of history from the prospect of unity is only possible within the historical interpretation of Future as an epoch of bridging the gap between Time and Eternity. Author calls this philosophical concept the Time of Freedom. (shrink)