Tilda Swinton’s status as a fashion icon exemplifies the contradictory functions that Walter Benjamin attributes to fashion as both exemplifying commodity fetishism and expressing a utopian ‘image wish’. This vexed relationship with fashion inflects Swinton’s cinematic performances, enhanced by her emphasis on disguise and transformation that calls into question the nature of identity and its authenticity. Her persona speaks to the fluid and fragmented dimensions of contemporary European identities, which are rooted, but also cross borders, national and otherwise; similarly, (...) her public presence testifies to the way that contemporary culture has generated new forms of celebrity as a means of representing identities in which the negotiation of gender is a significant component. (shrink)

Peirce shows how he presupposes that a ‘most general science of semeiotic’ is entirely a matter of culture. Semiotics unfolds even beyond the debate on specific differences between nature and culture. The expression ‘semiotics of culture’ entails all components of a true pleonasm. Pierce finds his parallel in the philosophy of Hegel and both philosophers consider the close ties between expressiveness and consciousness as a specifically human, cultural and spiritual activity. That viewpoint leads not only to linguistic but also to (...) other expressive phenomena, among which the body. Faces are perhaps the most outstanding bodily carriers of expression, so that Peirce’s analyses of Thirdness relate to the human face, not as a natural but as a cultural datum, in particular an artifice. A face-to-face relationship is embedded in a regulative discourse rather than an ethical appeal or other metaphysical dimensions. Three cases show various degrees of artificiality with different semiotic implications: Tilda Swinton’s appearance at the recent 2008 Oscar ceremony, the body art of Orlan and the first 2005 facial transplant of Isabelle Dinoire. The three do not only show how the human face is an artifice, but also how realities can appear to be fictitious within patterns of semiotic nature. Any sign can be a correlative to a fictitious world! (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ImagesLynn Hershman Leeson’s first feature film, Conceiving Ada, was shown at the 1998 Sundance Film Festival, The Toronto International Film Festival, The Berlin International Film Festival and thirty-five other festivals worldwide. It also received the award of “Outstanding Achievement in Drama” from the Festival of Electronic Cinema. Conceiving Ada was released by Fox Lorber in February 1999 and on DVD in February 2000.She was awarded the 2003 Alfred P. (...) Sloan Award for writing and directing Teknolust, starring Tilda Swinton and Jeremy Davies, which premiered in the American Showcase of the 2002 Sundance Film Festival. In fall 2005 the University of California Press published the monograph Secret Agents Private I, The Art and Films of Lynn Hershman Leeson. Her touring retrospective is organized by the Henry Gallery in Seattle.Hershman Leeson is a Professor Emeritus at the University of California, Davis, and an A.D. White Professor at Large at Cornell University. Click for larger view View full resolutionFigure 1. Lynn Hershman Leeson, Conceiving Ada, 1997, Film still, Photo courtesy of Lynn Hershman Leeson and bitforms gallery, New York (page 2) Click for larger view View full resolutionFigure 2. Lynn Hershman Leeson, Conceiving Ada, 1997, Film still, Photo courtesy of Lynn Hershman Leeson and bitforms gallery, New York (page 13) Click for larger view View full resolutionFigure 3. Lynn Hershman Leeson, Conceiving Ada, 1997, Film still, Photo courtesy of Lynn Hershman Leeson and bitforms gallery, New York (page 24) Click for larger view View full resolutionFigure 4. Lynn Hershman Leeson, Conceiving Ada, 1997, Film still, Photo courtesy of Lynn Hershman Leeson and bitforms gallery, New York (page 37) Click for larger view View full resolutionFigure 5. Lynn Hershman Leeson, Conceiving Ada, 1997, Film still, Photo courtesy of Lynn Hershman Leeson and bitforms gallery, New York (page 47) Click for larger view View full resolutionFigure 6. Lynn Hershman Leeson, Conceiving Ada, 1997, Film still, Photo courtesy of Lynn Hershman Leeson and bitforms gallery, New York (page 58) Click for larger view View full resolutionFigure 7. Lynn Hershman Leeson, Conceiving Ada, 1997, Film still, Photo courtesy of Lynn Hershman Leeson and bitforms gallery, New York (page 81) Click for larger view View full resolutionFigure 8. Lynn Hershman Leeson, Conceiving Ada, 1997, Film still, Photo courtesy of Lynn Hershman Leeson and bitforms gallery, New York (page 91) Click for larger view View full resolutionFigure 9. Lynn Hershman Leeson, Conceiving Ada, 1997, Film still, Photo courtesy of Lynn Hershman Leeson and bitforms gallery, New York (page 103)Copyright © 2006 The Johns Hopkins University Press... (shrink)

Agustín luchó en contra de los pelagianos por más de dos décadas, desde 411 hasta su muerte en 430, cuando dejó su inacabado y último trabajo contra Julián de Aeclanum. Durante este largo periodo, Agustín se opuso al movimiento pelagiano, principalmente, a través de tratados teológicos y sermones. En este artículo, dichas fuentes serán analizadas desde la perspectiva retórica: en particular, observaremos varios fragmentos en los cuales Agustín tilda el movimiento pelagiano de novedad, una técnica retórica que le abre (...) varias posibilidades para atacarlo. Estas tácticas retóricas específicas en contra del pelagianismo están orientadas hacia, al menos, tres objetivos: primero, Agustín identifica claramente sus propias enseñanzas, con la comunidad verdaderamente católica enraizada en la antigua tradición de la fe; segundo, Agustín desacredita definitivamente a su enemigo, pues los sitúa completamente por fuera de la antigua tradición de la Iglesia, ya que representan una novedad sin ninguna conexión con la verdadera y antigua fe; tercero, Agustín difunde entre su audiencia la doctrina del pecado original, que, al menos según él, concuerda perfectamente con la tradición de la Iglesia. Todas esas cuestiones serán exploradas en este artículo. (shrink)

Derek Jarman’s Wittgenstein (1993) is one of the very few films made about a philosopher’s life. Almost a parody of a late twentieth-century art-house movie, it contains a mimetic performance by Karl Johnson in the title role, plus cameos by Michael Gough (Bertrand Russell) and the ubiquitous Tilda Swinton (Russell’s lover, Ottoline Morrell). There is a green Martian (played by Nabil Shaban) who quizzes the young Ludwig Wittgenstein, and a collection of handsome young men sitting on deckchairs, looking puzzled (...) and gazing adoringly at the Master. The action, such as it is, takes place against a theatrical black background with a few props, and the whole thing lasts a brisk seventy minutes... (shrink)