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Journal articles on the topic 'Intimate realism'
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1
Gounelle, André. "La corrélation : ontologie et méthodologie." International Yearbook for Tillich Research 12, no. 1 (December 20, 2017): 1–16. http://dx.doi.org/10.1515/tillich-2017-0102.
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AbstractThe concept of correlation is not just a theological approach. It corresponds to Tillich’s ontology which is a “self transcendent realism”: realism since God is in the world; self-transcendent because He is not the world. In the world there is more than just the world. For us, God is at once intimate and stranger. The correlation method expresses this ontological bipolarity.
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Mainey, Lydia, Trudy Dwyer, Kerry Reid-Searl, and Jennifer Bassett. "High-Level Realism in Simulation: A Catalyst for Providing Intimate Care." Clinical Simulation in Nursing 17 (April 2018): 47–57. http://dx.doi.org/10.1016/j.ecns.2017.12.001.
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Harman, Graham. "Malabou’s Political Critique of Speculative Realism." Open Philosophy 4, no. 1 (January 1, 2021): 94–105. http://dx.doi.org/10.1515/opphil-2020-0167.
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Abstract A recent political critique of Speculative Realism by Catherine Malabou finds fault with this loosely arranged movement for its focus on reality in its own right, apart from the subject. Malabou responds with a radical ontological claim, holding effectively – if not always explicitly – that subject and object mutually generate one another amidst a primal void. After criticizing this idea, I point to some of the difficult political consequences of such a position, though Malabou defines it positively as an anarchic awakening that generates new collectivities unconstrained by any thing-in-itself. By contrast, I contend that nonhuman constraints and collaborators are an intimate part of the human political sphere. More generally, it is shown that there are consequences for which sorts of relations are taken to be the primary political relations.
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Skimin, Eleanor. "Reproducing the White Bourgeois: The Sitting-Room Drama of Marina Abramović." TDR/The Drama Review 62, no. 1 (March 2018): 79–97. http://dx.doi.org/10.1162/dram_a_00720.
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In the late-19th-century Euro-American theatre of domestic realism, the tête-à-tête on the sitting room set was the signature convention for the staging of intimate relational exchange. Since the 1980s Marina Abramović has been reproducing this sedentary bodily arrangement in much of her work. While Abramović has sought to position her performance art in counterpoint to white bourgeois theatre, her sedentary dramas are haunted by the ghosts of this seemingly unrelated genealogy of performance.
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Reynolds, Jill. "Patterns in the Telling: Single Women's Intimate Relationships with Men." Sociological Research Online 11, no. 3 (September 2006): 98–110. http://dx.doi.org/10.5153/sro.1381.
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This article explores some ways in which women not living with an intimate partner talk about their relationships with men. Data are considered in relation to social theorising on the changing nature of intimate relationships. The analysis makes use of traditions in narrative analysis and critical discursive psychology to identify some patterns in the telling, including common cultural resources that are drawn on by speakers. Patterned ways of portraying relationships identified in the data discussed here include a self-blame approach in describing extreme behaviour from the man concerned, and a repudiation of any intention of commitment through talk of the positive features of relationships with unavailable men. A further way of talking introduces a ‘new realism’ in which relationships are depicted as right for a time but dispensable when their time is up. The analysis suggests that concepts of individualisation and impermanence in relationships provide new cultural resources that women can draw on in providing a self-narrative. The data demonstrate the detailed rhetorical work involved in producing a positive account of the self as a single woman.
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Schuster, Graciela. "The Concept of the Visible between Art and Politics." Latin American Perspectives 42, no. 1 (January 2015): 84–94. http://dx.doi.org/10.1177/0094582x14563052.
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In the context of the Argentine crisis of December 2001, artist collectives of various kinds went out into the streets to reestablish their bonds with society, protesting and proposing alternatives. Their works and actions linked art and politics, and the visible was a salient aspect of those artistic processes. In the artistic actions performed at the Brukman factory, an abandoned enterprise recovered by its workers, Realism was the axis of the connection between art and politics, and the production and circulation of the artworks linked the public, the particular, and the intimate. En el contexto de la crisis argentina de diciembre de 2001, colectivos de artistas de diversos tipos salieron a las calles para restablecer sus vínculos con la sociedad, protestando y proponiendo alternativas. Sus obras y acciones unieron el arte y la política, y lo visible era un aspecto sobresaliente de los procesos artísticos. En las acciones artísticas realizadas en la fábrica Brukman, una empresa abandonada recuperada por sus trabajadores, el realismo era el eje de la conexión entre el arte y la política, y la producción y circulación de las obras de arte vincularon el público, lo particular y lo íntimo.
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Moor, Andrew. "‘New Gay Sincerity’ and Andrew Haigh’s Weekend (UK, 2011)." Film Studies 19, no. 1 (November 2018): 4–19. http://dx.doi.org/10.7227/fs.19.0002.
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The article notes a trend towards low-key naturalism in twenty-first-century independent queer cinema. Focusing on work by Andrew Haigh, Travis Mathews and Ira Sachs, it argues that this observational style is welded to a highly meta-cinematic engagement with traditions of representing non-straight people. The article coins the term ‘New Gay Sincerity’ to account for this style, relating it to Jim Collins’s and Warren Buckland’s writing on post-postmodern ‘new sincerity’. At its crux, this new style centres itself in realism to record non-metropolitan, intimate and quotidian gay lives, while acknowledging the high-style postmodernism of oppositional 1990s New Queer Cinema.
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Brzozowska, Sabina. ""Jak gdyby to była prawda…" Podejrzany realizm i podejrzany modernizm Tadeusza Rittnera." Wielogłos, no. 3 (45) (2020): 35–55. http://dx.doi.org/10.4467/2084395xwi.20.021.12829.
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“As If It Were True…”: Tadeusz Rittner’s Dubious Realism and Dubious Modernism This paper is an attempt at redefining selected plays written by Tadeusz Rittner in the modernist and symbolist convention. In the 1950s, they were evaluated by Zbigniew Raszewski as among the playwright’s lesser achievements. I have analysed three texts: the one-act plays Sąsiadka (“The Neighbour”) and Odwiedziny o zmroku (“A Visit at Dusk”) as well as the play Don Juan. There is no doubt that the author did not avoid stylistic exaggeration in his modernist works, but one can also find some distance from the conventions of the Young Poland period as well as the use of the grotesque, theatrical sham, and the poetics of intimate drama in these plays. Rittner’s Viennese character is an alibi for his aesthetic choices and the manner of staging emotions. The evaluation of these plays, which were written in the symbolist and modernist convention, was affected by the theatrical reception, the artists’ superficial reading of the instructions included in the stage directions, and the pigeonholing of the works as realism with a hint of Romantic mood.
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Reid-Searl, Kerry. "Mask-Ed (KRS Simulation) an approach to deliver intimate care for neophyte nursing students: the creator's experience." British Journal of Nursing 29, no. 12 (June 25, 2020): S8—S10. http://dx.doi.org/10.12968/bjon.2020.29.12.s8.
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Nurses deliver intimate care to patients in a variety of ways, especially when attending to showering, bathing, toileting and managing chronic or surgical wounds located in body regions such as the genitalia or breasts. Neophyte undergraduate nursing students can experience fear and anxiety at the thought of carrying out this level of care; hence, there is a need for preparation prior to undertaking clinical placements when students encounter real patients. The preparation should begin in the laboratory context of their tertiary educational settings. Traditionally, task trainers and manikins have been used to demonstrate and practise this care in such environments. However, the realism of experiencing true human responses, by both the patient and student, can be lost through these modalities. In recent years, a simulation approach, Mask-Ed, has enabled intimate care to be taught to students in a university setting in Australia where the laboratory context provides a safety net. Mask-Ed involves the informed educator wearing highly realistic silicone props that include torsos, faces and hands. Having donned the props, the educator then transforms into another person. The newly created person has a backstory designed to enable the educator to become a platform for teaching and to coach students through the clinical experience. The following discussion explains the background to Mask-Ed and the underlying framework that is used to implement the technique to teach intimate care. Mask-Ed is considered one of the most realistic approaches to simulation and is used in healthcare facilities and tertiary educational institutions globally.
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Kim, Kwangsu. "Philosophy and science in Adam Smith’s ‘History of Astronomy’." History of the Human Sciences 30, no. 3 (July 2017): 107–30. http://dx.doi.org/10.1177/0952695117700055.
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This article casts light on the intimate relationship between metaphysics and science in Adam Smith’s thought. Understanding this relationship can help in resolving an enduring dispute or misreading concerning the status and role of natural theology and the ‘invisible hand’ doctrine. In Smith’s scientific realism, ontological issues are necessary prerequisites for scientific inquiry, and metaphysical ideas thus play an organizing and regulatory role. Smith also recognized the importance of scientifically informed metaphysics in science’s historical development. In this sense, for Smith, the metaphysico-scientific link (i.e. metaphysically coherent conjecture), was a basic criterion of scientific validation by Inference to the Best Explanation. Furthermore, Smith’s comments implicitly suggest that in scientific progress there is a dialectic between metaphysics and science. These themes are illustrated primarily through his writings on the history of astronomy.
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Panos, Leah. "Realism and Politics in Alienated Space: Trevor Griffiths's Plays of the 1970s in the Television Studio." New Theatre Quarterly 26, no. 3 (August 2010): 273–86. http://dx.doi.org/10.1017/s0266464x10000461.
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The television studio play is often perceived as a somewhat compromised, problematic mode in which spatial and technological constraints inhibit the signifying and aesthetic capacity of dramatic texts. Leah Panos examines the function of the studio in the 1970s television dramas of socialist playwright Trevor Griffiths, and argues that the established verbal and visual conventions of the studio play, in its confined and ‘alienated’ space, connect with and reinforce various aspects of Griffiths's particular approach and agenda. As well as suggesting ways in which the idealist, theoretical focus of the intellectual New Left is reflexively replicated within the studio, Panos explores how the ‘intimate’ visual language of the television studio allows Griffiths to create a ‘humanized’ Marxist discourse through which he examines dialectically his dramatic characters' experiences, ideas, morality, and political objectives. Leah Panos recently completed her doctoral thesis, ‘Dramatizing New Left Contradictions: Television Texts of Ken Loach, Jim Allen, and Trevor Griffiths’, at the University of Reading and is now a Postdoctoral Researcher on the AHRC funded project, ‘Spaces of Television: Production, Site and Style’, which runs from July 2010 to March 2014.
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Scarfe, Peter, and Andrew Glennerster. "The Science Behind Virtual Reality Displays." Annual Review of Vision Science 5, no. 1 (September 15, 2019): 529–47. http://dx.doi.org/10.1146/annurev-vision-091718-014942.
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Virtual reality (VR) is becoming an increasingly important way to investigate sensory processing. The converse is also true: in order to build good VR technologies, one needs an intimate understanding of how our brain processes sensory information. One of the key advantages of studying perception with VR is that it allows an experimenter to probe perceptual processing in a more naturalistic way than has been possible previously. In VR, one is able to actively explore and interact with the environment, just as one would do in real life. In this article, we review the history of VR displays, including the philosophical origins of VR, before discussing some key challenges involved in generating good VR and how a sense of presence in a virtual environment can be measured. We discuss the importance of multisensory VR and evaluate the experimental tension that exists between artifice and realism when investigating sensory processing.
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Adams, Rachel. "An Overstory for Our Time." American Literature 92, no. 4 (October 6, 2020): 799–807. http://dx.doi.org/10.1215/00029831-8781019.
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Abstract Care is the intimate and necessary labor required to sustain those who are dependent, but it is also about acting in ways that sustain other species and the lives of strangers distant in time and space. The COVID-19 pandemic shines a spotlight on the vulnerabilities and gaps in global care networks. It creates a crisis of care on multiple levels—the immediate, the dispersed, and the systemic—and it is exceedingly difficult to keep them all in focus. Although Richard Powers’s Pulitzer Prize–winning novel, The Overstory (2018), is not about illness or pandemic, it can illuminate varied scales of care at the level of form, by moving from individual stories that are the typical subject of literary realism to a grand vision of the webbed planetary systems—the environment, the internet, the global economy—in which they are enmeshed. This essay argues that, read through the lens of pandemic, the overstory of Powers’s novel is the networks of interdependency that have put the world in grave danger and that gesture to an uncertain future.
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Trippett, David. "Facing Digital Realities: Where Media Do Not Mix." Cambridge Opera Journal 26, no. 1 (February 19, 2014): 41–64. http://dx.doi.org/10.1017/s0954586713000311.
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AbstractWagner’s vaunted model of artistic synthesis persists in scholarly assessments of his work. But at its centre, the composer argued that the media of voice and orchestra do not mix: they retain their identities as separate channels of sound that can neither duplicate nor substitute for one another. Taking as a starting point Wagner’s claims for the non-adaptability of media, this article addresses the adaptation of Wagner’s music to the modern digital technologies of HD cinema and video game. Drawing on a wide circle of writers, from Schiller and Žižek to Bakhtin, Augé, Baudrillard and second-generation media theorists, it interrogates the concept of ‘reality’ within live acoustic performance, both historically, as a discursive concept, and technologically, via the sensory realism of digital simulcasting and telepresence. The philosophical opposition of appearance and reality fails when reality is defined by the intimate simulation of a sensory event as it is registered on the body. And by contrasting the traditions of high fidelity in (classical) sound recording with that of rendering sound in cinema, I suggest ways in which unmixable media appear to have an afterlife in modern technologies. This raises questions – in a post-Benjamin, post-McLuhan context – about our definition of ‘liveness’, the concept of authenticity within mediatised and acoustic sounds, and our vulnerability to the technological effects of media.
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Woodward, Ashley. "Dispositif, Matter, Affect, and the Real: Four Fundamental Concepts of Lyotard's Film-Philosophy." Film-Philosophy 23, no. 3 (October 2019): 303–23. http://dx.doi.org/10.3366/film.2019.0118.
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Jean-François Lyotard's work remains a largely untapped resource for film-philosophy. This article surveys four fundamental concepts which indicate the fecundity of this work for current studies and debates. While Lyotard was generally associated with the “theory” of the 1980s which privileged language, signs, and cultural representations, much of his work in fact resonates more strongly with the new materialisms and realisms currently taking centre stage. The concepts examined here indicate the relevance of Lyotard's work in four related contemporary contexts: the renewed interest in the dispositif, new materialism, the affective turn, and speculative realism. The concept of the dispositif (or apparatus) is being rehabilitated in the contemporary context because it shows a way beyond the limiting notion of mise en scène which has dominated approaches to film, and Lyotard's prevalent use of this concept feeds into this renewal. While matter is not an explicit theme in Lyotard's writings on film, it is nevertheless one at the heart of his aesthetics, and it may be extended for application to film. Affect was an important theme for Lyotard in many contexts, including his approaches to film, where it appears to subvert film's “seductive” (ideological) effects. Finally, the Real emerges as a central concept in Lyotard's last essay on cinema, where, perhaps surprisingly, it intimates something close to a speculative realist aesthetics. Each of the fundamental concepts of Lyotard's film-philosophy are introduced in the context of the current fields and debates to which they are relevant, and are discussed with filmic examples, including Michael Snow's La Région centrale (1971), Roberto Rossellini's Stromboli (Stromboli, terra di Dio, 1950), Francis Ford Coppola's Apocalypse Now (1979), and neo-realist cinema.
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Doherty, Annabelle. "A Cinematic Cultural Memory of Courtship, Weddings, Marriage, and Adultery in July Monarchy France through Heritage Films Claude Chabrol’s Madame Bovary, Jean-Paul Rappeneau’s The Horseman on the Roof, and Catherine Breillat’s The Last Mistress." Adaptation 12, no. 2 (December 14, 2018): 118–48. http://dx.doi.org/10.1093/adaptation/apy016.
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AbstractThrough the cinematic experience of heritage films’ historical reconstitutions, audiences may acquire a vivid cultural memory of prior eras, where the powerful corporeal effect of the cinematographic language stimulates a lived sensation of the past. Yet the recreations of heritage cinema are, at times, refracted through the lens of auteurism, impacting the historical realism and effect of authenticity and in the case of adaptations transforming the original source text. This article considers key French heritage films to depict the July Monarchy in France, investigating how different auteurs influence the films’ sensual audio-visual recreations and consequently spectators’ filmic experience. Former new wave auteur Claude Chabrol’s adaptation Madame Bovary (1991) and its recreation of 1830–1840s France is compared and contrasted with later-generation auteur Jean-Paul Rappeneau’s Le Hussard sur le toit/The Horseman on the Roof (1995) and younger-generation auteur Catherine Breillat’s Une vieille maîtresse/The Last Mistress (2007), exploring history via their unique authorial aesthetics and ideologies. The depiction of (semi-)fictional historical figures during events of the July Monarchy is analysed, in the films’ portraits of past landscapes, focusing on the intimate settings of courtship, weddings, marriage, and adultery during the reign of Louis Philippe I. The article examines the adaptation of Chabrol’s vision of Gustave Flaubert’s canonical 1857 work, together with Rappeneau’s interpretation of Jean Giono’s 1951 novel and Breillat’s recreation of Barbey d’Aurevilly’s 1851 text. It explores the cinematic cultural memory of the past potentially acquired by spectators through the embodied experience of each auteur’s powerful heritage adaptation.
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Peppoloni, Silvia, and Giuseppe Di Capua. "Geoethics to Start Up a Pedagogical and Political Path towards Future Sustainable Societies." Sustainability 13, no. 18 (September 7, 2021): 10024. http://dx.doi.org/10.3390/su131810024.
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The development of geoethics is at a turning point. After having strengthened its theoretical structure and launched new initiatives aimed at favouring the spread of geoethical thinking, geoethics must deal with some issues concerning the social organization of dominant cultures, the existing economic structures, and the political systems that govern the world. Nowadays geoethics must move towards the construction of a pedagogical proposal, which has a formative purpose, for future generations and the policy leaders, but also a political one, in the noble sense of the term, that is, concerning the action of citizens who take part in public life. The pedagogical and political project of geoethics will have to be founded on the principles of dignity, freedom, and responsibility on which to ground a set of values for global ethics in order to face planetary anthropogenic changes. Furthermore, this project must be inclusive, participatory, and proactive, without falling into simplistic criticism of the current interpretative and operational paradigms of the world, but always maintaining realism (therefore adherence to the reality of the observed facts) and a critical attitude towards the positive and negative aspects of any organizational socio-economic system of human communities. In our vision there can be no sustainability, adaptation, or transition in human systems that do not pass through an ethical regeneration of the human beings, who are aware of their inborn anthropocentric and anthropogenic perception/position and assume responsibility for the consequences of their actions impacting the Earth system. In fact, the ecological crisis is the effect of the crisis of humans who have moved away from their intimate human nature. Through this paper we want to enlarge disciplinary areas that should be investigated and discussed through the lens of geoethical thinking and propose geoethics for an ethical renewal of societies, making them more sustainable from a social, economic, and environmental perspectives.
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Bovsunivska, Tetyana. "DMITRY CHIZHEVSKY`S CONCEPT OF ROMANTICISM AND CANONS OF THE SOVIET LITERARY CRITICISM." Polish Studies of Kyiv, no. 35 (2019): 70–78. http://dx.doi.org/10.17721/psk.2019.35.70-78.
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The article talks about the role of D. Chyzhevsky in redefining the paradigm of Ukrainian romanticism, since Soviet canons are still being explored in his theory and history. In particular, emphasis was placed on confronting such ideological basis as: avoiding any mysticism; refusal of psycho-intimate immersion; the imposition of revolutionary and democratic tendencies; pan-realism; the militant nature of romanticism and the genesis of its origins from German idealism. Chizhevsky proposed instead: the recognition of the heart as the center of romantic aesthetics; peculiarity and singularity of Ukrainian romantic philosophy; syncretic ideology instead of “militancy”; giving preference to the psychological and intuitive space in romanticism; nationally creative potency and oneiric and mystical poetry. Among the main features of “Ukrainian romanticism” is: 1) the identification of interest in the figure and philosophy of G. Skovoroda, that is, the historical continuity of ideas, and, therefore, the inconvenience of the emergence of romanticism; 2) the birth of Ukrainian romantic literature is connected with the development of a certain ideology that belongs to the masses and spiritualized them; 3) nationality is a cross-cutting feature of romantic literature; 4) the cult of antiquity; 5) the desire to get closer to the ideal of “complete” literature, create the relations with other literatures, etc. D. Chyzhevsky distinguished three schools of Ukrainian romanticism: Kiev, Kharkiv and Western Ukraine. Considered the representatives of the Ukrainian school of romanticism in Russia and Poland. He gave the motivation of A. Metlynsky’s work, outside the categories of reactionary and revolutionary romanticism (as well as other personalities). He emphasized the role of “History of Rus” and “Zaporozhian old days” to form a romantic historical vision, that is, the principle of historicism; and considered the most expressive of the many receptions of romanticism. Constantly stressed the tendency of romantics to God. The books of D. Chyzhevsky went to the Ukrainian reader long and hard, however, time sets its emphasis, neglecting all authority, because only the future knows what it will need for a new world.
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Oh, Daniel. "Mission Spirituality of Jesus." Missiology: An International Review 40, no. 1 (January 2012): 77–82. http://dx.doi.org/10.1177/009182961204000108.
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This article was originally presented as the first of three messages on the “Mission Spirituality of Jesus” at the 2011 ASM conference. Out of the overflow of Jesus' intimate relationship with the Father, he purposefully listened to the Father and discerningly carried out the Father's business in the world. Jesus' modeling his mission spirituality in John 13 encourages us to realign and rethink our own mission spirituality. We need to rediscover intimacy with God by reaffirming our identity as his children, our stewardship to him for everything in our lives, our life purpose of servant leadership, and our destiny to reign with Jesus in eternity.
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Kurasawa, Fuyuki. "Jews, Western sociology’s intimate others." Journal of Classical Sociology 20, no. 2 (December 2, 2019): 140–47. http://dx.doi.org/10.1177/1468795x19886700.
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This article argues that Goldberg’s Modernity and the Jews in Western Social Thought fills an important gap: Jews are not only ‘good to think’ (Lévi-Strauss) but also essential for Western social theorists to critically interpret modernity and ambivalence towards it. In the article’s first part, devoted to the book’s epistemological and methodological underpinnings, I raise the following points: the book’s disciplinary focus prevents it from engaging more fully with broader intellectual and sociocultural currents, its national- cum-thematic structure precludes the exploration of transnational comparisons and nationally exogenous factors, the neglect of Jewish exile and cosmopolitan identity in the face of antisemitism and lack of clarity as to whether the book conforms to a realist epistemology or a symbolic one. In the article’s second part, I raise points about Goldberg’s rereading of the sociological canon, notably regarding Durkheim, Simmel and Weber.
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Koontz, Amanda, Lauren Norman, and Sarah Okorie. "Realistic love: Contemporary college women’s negotiations of princess culture and the “reality” of romantic relationships." Journal of Social and Personal Relationships 36, no. 2 (November 7, 2017): 535–55. http://dx.doi.org/10.1177/0265407517735694.
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This manuscript examines the ways collegiate women perceive media portrayals of princess cultural scripts and how this impacts their constructions of romantic relationships. Drawing on 30 in-depth interviews with college-aged women, we explore how these women negotiated media portrayals of romantic love by (1) distancing from images they defined as unrealistic expectations and (2) selectively embracing media portrayals as revealing intimate relational ideals. We argue that their selective accounting for how they developed their definitions of “realities” of love exposes tensions in concurrently hegemonic conceptions of love: idealist (fantastical and emotional love) and realist (rational and practical love) needed to sustain long-term relationships. We suggest that these negotiations reveal an association of idealist love with youth and realist love with maturity, reflecting an ongoing privileging of realist love. We conclude by considering interconnections between late capitalistic ideologies and maturation.
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Barrense-Dias, Yara, Christina Akre, Diane Auderset, Brigitte Leeners, Davide Morselli, and Joan-Carles Surís. "Non-consensual sexting: characteristics and motives of youths who share received-intimate content without consent." Sexual Health 17, no. 3 (2020): 270. http://dx.doi.org/10.1071/sh19201.
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Background One of the possible negative consequences of sexting is the non-consensual sharing of received-intimate content. This study aimed to determine the characteristics and motives of youths who shared received-intimate images without consent. Methods: Data were obtained from a self-administrated Swiss survey on sexual behaviours among young adults (aged 24–26 years). Out of the 7142 participants, 5175 responded to the question ‘Have you ever shared (forwarding or showing) a sexy photograph/video of someone else (known or unknown) without consent’?; 85% had never shared (Never), 6% had shared once (Once) and 9% had shared several times (Several). Data are presented as relative risk ratios with 95% confidence intervals. Results: Participants who had shared received-intimate content without consent had higher odds of being male [2.73 (2.14–3.47)], foreign-born [1.45 (1.04–2.03)], reporting a non-heterosexual orientation [1.46 (1.10–1.93)], having sent one’s own intimate image [1.76 (1.32–2.34)] and receiving a shared-intimate image of someone unknown [4.56 (3.28–6.36)] or known [2.76 (1.52–5.01)] compared with participants who had never shared. The main reported motivations were for fun (62%), showing off (30%) and failure to realise what they were doing (9%). Conclusions: Given the reported motivations, it appears crucial to remind youths of the seriousness of non-consensual sharing. Although females may also be perpetrators, the behaviour was more prevalent among males. Prevention and education need to consider a broad range of young people in their scenarios. Even if a particular focus on understanding and preventing males’ perpetration must be considered, overall perpetration, including female’s, must be discussed.
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Ward-Griffin, Danielle. "Realism Redux: Staging ‘Billy Budd’ in the Age of Television." Music and Letters 100, no. 3 (August 1, 2019): 447–80. http://dx.doi.org/10.1093/ml/gcz064.
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Abstract Although the term ‘realism’ is frequently deployed in discussing opera productions, its meanings are far from self-evident. Examining four stage and screen productions of Benjamin Britten’s Billy Budd (1951–66), this article traces how this mode was reworked through television in the mid-twentieth century. Linking theatrical and televisual developments in the UK and the USA, I demonstrate how television’s concerns for intimacy and immediacy guided both the 1951 premiere and the condensed 1952 NBC television version. I then show how challenges to the status quo, particularly the ‘angry young men’ of British theatre and the backlash against naturalism on television, spurred the development of a revamped ‘realistic’ style in the 1964 stage and 1966 BBC productions of Billy Budd. Beyond Billy Budd, this article explores how the meanings of realism changed during the 1950s and 1960s, and how they continue to influence our study of opera performance history.
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Goicolea, Isabel, Anna-Karin Hurtig, Miguel San Sebastian, Bruno Marchal, and Carmen Vives-Cases. "Using realist evaluation to assess primary healthcare teams’ responses to intimate partner violence in Spain." Gaceta Sanitaria 29, no. 6 (November 2015): 431–36. http://dx.doi.org/10.1016/j.gaceta.2015.08.005.
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KOKAZ, NANCY. "Moderating power: a Thucydidean perspective." Review of International Studies 27, no. 1 (January 2001): 027–49. http://dx.doi.org/10.1017/s0260210500010275.
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Thucydides is generally regarded as the founder of Realism in IR because of his vivid descriptions of war and power politics. A strong Realist account rests on sharp dichotomies between domestic and international politics, power and justice, nature and convention. Reading Thucydides through these dichotomies is not limited to IR; in fact, most classical and philosophical scholarship on the historian is informed by this vocabulary. I argue that such readings cannot hold under close scrutiny because they turn Thucydides too much into a sophist. As closer attention to how nature and convention, power and justice, domestic and international are deployed in the History reveals, Thucydides is deeply concerned with moving beyond standard sophistic oppositions. He does this by articulating a conception of how nature and convention are intimately connected to each other through proper use in the practice of excellence in a way that foreshadows Aristotle. Repositioning Thucydides in the tradition of classical political thought as a predecessor of Aristotle rather than a follower of the sophists has important implications for both theorists and practitioners of world politics. Well aware of the importance of both nature and convention for the practice of excellence, Thucydides recognizes the importance of power politics as well as institutions in human affairs, and yet endorses neither uncritically. He develops a distinctively normative theory of world politics by placing proper use and moral judgement at the centre of his account. As such, the primary message Thucydides gives, to theorists and practitioners alike, is to deplore human suffering and to struggle towards moderation and practical wisdom in politics, making the best use of tendencies in human nature as well as available institutions to that end.
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Mititelu, A. "Sleep-memory-plasticity:A circuit closed by Gaba?" European Psychiatry 26, S2 (March 2011): 1262. http://dx.doi.org/10.1016/s0924-9338(11)72967-4.
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It is already widely known that benzodiazepines, the most prolific compound for pharma industry, are the most used psychotropic medication used at moment. It is striking that even now, after more than 50 yrs from first use of Diazepam, still exerts such a massive interest. Both mechanism, of dependence and withdrawn are not still unknown. Benzodiazepines by their structure and sites of action upon GABA receptors realise a huge effect in majority of neuronal circuits.ObjectivesThe effect of BDZ in mood and affective disorders and also in major psychotic sdr-Schizophrenia realise an reduction of hyper GABA influence. acting on specific neuronal populations which posses particularly alpha 5 GABAa receptors they produce sedative but non anxiolytic effect. Also is still an “mistery” how only retrograde amnesia is produced and why plasticiticity occurs after a longtime use of BDZ facilitating the development of tolerance.AimsBy a better intimate description of mechanisms by which GABAa receptors realise the sedative action and development of less side effects comparing with actual BDZ in use, even from different classes.MethodsIn this communication we had realised a thematical analysis of all studies (randomised clinical trials, clinical case study) but also various experimental research with this subjects-sleep, memory, plasticity. All had been indexed in PubMed, EMBASE, www.ionchannels.com and Science Direct.ResultsThe conclusion of our tematical study and also, our previous research suggests antagonists of GABA a or agonists of beta carbolines could be proven solid point of start for more efficient therapeutic substances.
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BÁEZ, ANA. "Cuban Realism, or the Novel as a Democratic Fiction: Abilio Estévez’s Los palacios distantes." Bulletin of Hispanic Studies 97, no. 10 (November 1, 2020): 1095–112. http://dx.doi.org/10.3828/bhs.2020.18.
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In the last decades, attention to post-Soviet Cuban fiction has often intimated that this body of literature is the aesthetic counterpart to socialism’s exhaustion and that its narrative is likely to follow a telos of disenchantment. This article argues that counter to such a paradigm and in the wake of the Special Period, Cuban fiction registers the formation of new subjectivities as it opens a space for a new politics through a non-mimetic form of realism that points to writing’s democratic capacity. Taking as an example Abilio Estévez’s 2002 novel Los palacios distantes, this article points to the novel’s suspension of dystopian causality and argues that textual interruptions in the novel afford the repartitioning of the limits of the sayable, visible and possible with respect to socialist ideology. This article draws attention to the politics of aesthetics in post-Soviet Cuban fiction, while also attributing this politics of form to the broader relation of aesthetics to politics.
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KRUGER, LOREN. "Dispossession and Solidarity in Athol Fugard and Juan Radrigán." Theatre Research International 40, no. 3 (September 9, 2015): 314–31. http://dx.doi.org/10.1017/s0307883315000383.
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This article compares the two major figures of Chilean and South African theatre, in particular two intimate realist dramas onstage and onscreen in the 1970s and 1980s, when both countries were ruled by tyrannies tolerated by governments in the so-called free world. InBoesman and LenaandHechos consumadosthe depiction of solidarity against the dispossession caused by ‘capitalist revolution’ in Pinochet's Chile or Afrikaner capitalism in apartheid South Africa still resonates today when the rhetoric of struggle appears compromised by the culture of consumption and when post-apartheid and post-dictatorship governments retreat from ‘suspended revolution’ in a world shaped not only in the global South but also in the affluent North by neo-liberal axioms of shrunken government and free markets for the rich against austerity for the poor.
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Khan, Ali. "In the bedroom." Fashion, Style & Popular Culture 8, no. 2 (May 1, 2021): 225–31. http://dx.doi.org/10.1386/fspc_00081_1.
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Boudoir photography is going through a renaissance. Having being rediscovered by whole new generation of amateur smartphone photographers and influencers, the genre has taken a new and exciting direction. The intimacy and erotic nature of this genre is now also injected with a dose of raw realism that further adds to the legitimacy of the image. This newly evolved aesthetic has been equally influential on fashion editorials and fashion ad campaigns from streetwear to luxury brands. In this series of photographs and the accompanying essay, the author/photographer aims to document such aesthetic by capturing the mood and fashion of the current times and analysis the background for such fashion editorial images.
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Sindali, Katia, Karthik Srinivasan, Martin Jones, Nora Nugent, and Lilli Cooper. "Developing a Three-Layered Synthetic Microsurgical Simulation Vessel." Journal of Reconstructive Microsurgery 35, no. 01 (July 11, 2018): 015–21. http://dx.doi.org/10.1055/s-0038-1657791.
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Background Microsurgery is increasingly relevant, and is difficult to learn. Simulation is relied upon ever more in microvascular training. While living models provide the ultimate physiological feedback, we are ethically obliged to optimize non-living models to replace, refine, and reduce the use of animals in training. There is currently no three-layered synthetic vessel available for microsurgical training. Methods A three-layered synthetic vessel was designed with a simulation company. One anastomosis was performed by 14 microsurgical experts at one center. The realism of the vessel was assessed via user questionnaires and the construct validity using objective, validated task scores to assess the anastomosis performance and the final product. Videos were obtained, which were anonymized and marked remotely by a consultant plastic surgeon. Results The synthetic vessel intima and media displayed reasonable realism, while the adventitia was less realistic. Areas for improvement were identified. Both the task specific assessment score and the final product assessment appropriately identified experts. Conclusion A three-layered synthetic model for microvascular training is a hygienic and useful intermediate-level alternative to commonly used synthetic and ex vivo alternatives.
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Canella, Gino. "Youth Documentary Academy: The social practices of filmmaking and media advocacy." Journal of Alternative & Community Media 4, no. 2 (July 1, 2019): 31–43. http://dx.doi.org/10.1386/joacm_00047_1.
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Youth Documentary Academy (YDA) is a seven-week documentary workshop in Colorado Springs, Colorado. Through ethnographic research and collaborative filmmaking, I examine documentary production and exhibition as social practices that foster meaningful relationships between media makers and community organisations working for social justice. Between November 2016 and July 2018, I conducted 20interviews with current and former YDA filmmakers, faculty and community organisers. Many YDA filmmakers produced films through first-person point-of-view testimonials, which explored intimate details of their lives and the issues facing their families and communities. Although this narrative style may individualise systemic injustices, I argue that the affective nature of filmmaking and film exhibition, and the partnerships that YDA developed with community organisations, helped youth realise an advocacy role. For filmmakers, the empathic dialogues that emerged at public screenings of YDA films illuminated the way media have the potential to foster solidarity.
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O’Campo, Patricia, Maritt Kirst, Charoula Tsamis, Catharine Chambers, and Farah Ahmad. "Implementing successful intimate partner violence screening programs in health care settings: Evidence generated from a realist-informed systematic review." Social Science & Medicine 72, no. 6 (March 2011): 855–66. http://dx.doi.org/10.1016/j.socscimed.2010.12.019.
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Zhang, Ling. "Foreshadowing the Future of Capitalism: Surveillance Technology and Digital Realism in Xu Bing’s Dragonfly Eyes." Comparative Cinema 8, no. 14 (May 22, 2020): 62–81. http://dx.doi.org/10.31009/cc.2020.v8.i14.05.
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How has the development of surveillance technology and its normalized intervention into our social structures and daily lives impact our imagination of the future? Does the “total view” of the intense yet impassive gaze of surveillance cameras, combined with the mediated intimacy of social media videos, foreshadow deeper social alienation or the fulfillment of individual desire? In order to address such questions, I take the Chinese artist Xu Bing and his team’s film Dragonfly Eyes (Qingting zhi yan, 2017) and its surrounding media culture as a case study to demonstrate how surveillance footage and various modes of cinematic ontology, digital realism, and temporality work in a contemporary socio-political-medial context. Composed by Xu and a group of collaborators, Dragonfly Eyes is the only existing feature-length fiction film constructed completely from surveillance footage. As a highly reflexive film, Dragonfly epitomizes and embodies the precarious potentials of the digital future of capitalism, both invigorating and bleak, expressive and corrupt.
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Peoples, Columba. "Life in the nuclear age: Classical realism, critical theory and the technopolitics of the nuclear condition." Journal of International Political Theory 15, no. 3 (August 2018): 279–96. http://dx.doi.org/10.1177/1755088218788888.
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Classical realist thought provides a diagnosis of the significance nuclear weapons that calls into question the very possibility of politics in the nuclear age. While sharing similarities with this outlook, critical theoretic reflections suggest a more expansive consideration of the nuclear condition as underpinned by combinations of dystopian fears of nuclear destruction and utopian visions of nuclear futures. Most prominently Herbert Marcuse’s critical theory intimates an understanding of the nuclear condition as one that is rendered tolerable so long as nuclear technologies are associated with and related to innovation, progress and modernity. The study of the technopolitics of the nuclear condition might thus look not only to classical realists’ concern with ‘Death in the Nuclear Age’ but also incorporate corresponding critical awareness of claims to the life-sustaining applications of nuclear technologies in areas such as energy production, industry and medicine. Applying an ‘aporetic’ form of immanent critique, and to exemplify how the international politics of the nuclear age has often been predicated on efforts to distinguish and relate different kinds of nuclear technologies, the article revisits the United States–led post-war vision of ‘Atoms for Peace’ and compares it to the International Atomic Energy Agency’s contemporary ‘How the Atom Benefits Life’ campaign.
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Crisp, Oliver D. "Shedding the theanthropic person of Christ." Scottish Journal of Theology 59, no. 3 (July 25, 2006): 327–50. http://dx.doi.org/10.1017/s0036930606002304.
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The Dogmatic Theology of the nineteenth-century divine William Shedd has received little attention in the literature. Yet it contains a number of theologically interesting arguments. This article sets forth what Shedd has to say on the doctrine of the theanthropic person of Christ. I show that his doctrine of the person of Christ represents one important Chalcedonian stream of Christology, which, in Shedd's estimation, is intimately connected to two overarching themes in his dogmatics, namely, traducianism and Augustinian realism. His commitment to these two doctrines in his theological anthropology has important and unexpected implications for his Christology. Although the conclusion is that Shedd's doctrine of the person of Christ suffers from several serious problems, it represents an important contribution to systematic theology, which has more than historical interest.
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Mazur, Nicole. "Between the Turnstiles: Zoos as Agents of Environmental Education." Australian Journal of Environmental Education 14 (1998): 71–80. http://dx.doi.org/10.1017/s0814062600003967.
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ABSTRACTSince the middle of the 20th century, zoological gardens have endeavoured to assist in the restoration of global, regional and national biodiversity. To help realise these conservation goals zoo professionals rely on formal and informal education schemes to enhance zoo visitors' awareness of environmental conservation issues. A questionnaire was administered at eight Australian zoos to elicit information regarding visitors' environmental knowledge and attitudes. Data from several open-ended questionnaire items were consistent with data from closed questions which intimated that zoo respondents appreciated zoos' conservation activities. However, a gap existed between visitors' endorsement of conservation and their level of conservation activism. This suggests that educational and interpretive materials used in zoos should include comprehensive and clearly intelligible information about a range of environmental values and means of involvement in action for conservation.
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Puri, Tara. "FABRICATING INTIMACY: READING THE DRESSING ROOM IN VICTORIAN LITERATURE." Victorian Literature and Culture 41, no. 3 (September 2013): 503–25. http://dx.doi.org/10.1017/s1060150313000077.
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The Victorian novel is dominated by heroines, its narrative driven by their impulses and their irrepressible physicality. These women possess a strong visual presence that is intrinsically bound with the way in which they choose to dress themselves, with authorial attention consistently focusing on the elements of their clothing. The body was a highly visible, and more significantly, a readable cultural symbol in the Victorian period, with its signifying ability vitally linked to the clothes that adorned it. Clothes have often been employed in literary metaphors – words as the clothing of thought, clothes as a masking of the real, and so on. In his long poem In Memoriam, A.H.H., Tennyson succinctly deploys the quiet grief contained in the idea of widow's weeds, bringing together the expressivity of both clothes and words, when he writes: “In words, like weeds, I'll wrap me o'er, / Like coarsest clothes against the cold” (stanza 5, ll. 9–10). But in the realist Victorian novel, clothes become even more pertinent, offering a useful descriptive device that is pivotal to the creation of a believable, legible character. The awareness of clothing as something that has potential for both restriction of identity as well as expression of it permeates much of Victorian writing, with numerous novels rendering visible the construction of a coherent selfhood through clothing.
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Gitre, Edward J. K. "William James on divine intimacy: psychical research, cosmological realism and a circumscribed re-reading ofThe Varieties of Religious Experience." History of the Human Sciences 19, no. 2 (May 2006): 1–21. http://dx.doi.org/10.1177/0952695106063335.
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Srhoj, Vinko. "Kuzma Kovačić - priroda, kultura i vjera kao korektivi modernističke skulpture." Ars Adriatica, no. 1 (January 1, 2011): 169. http://dx.doi.org/10.15291/ars.436.
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Affirming himself during the postmodern period, it is as if sculptor Kuzma Kovačić never cared about the appearance of the new artistic trend. His oeuvre does not display any inclination, not even a rudimentary interest in postmodern compiling and referencing of historical sources. The age of fragmentary visual models creaed by the idea about the loss of cultural unity which attempted to construct itself on the shards of the broken ‘art-historical vase’ did not seem to touch him at all. On the other hand, Kovačić is not a follower of the preceding modernist period which emphasized the experimental nature of art, formal and analytical models where subject matter was identified with material and technique. It seems that in his case, the call of heritage and stories from the native region had outshone any interest in being part of the chronological succession of trends and generations. Grgo Gamulin once wrote that this sculptor ‘observes and forms the seasons, sea, stations of the Cross, sermons, epistles, evangelists and saints’. It seems that he is not so much looking towards what is new on the artistic horizon as towards what the home region of Hvar, the Mediterranean and Christianity have left imprinted on the millennial physiognomy of landscape and people. Kovačić wants to direct our attention to the context of culture and tradition, but also to the structure of surface, and in this, between the private and collective, the significant and insignificant, the intimate and public, he does not see any obstacle. Equally so, he does not make a difference between the traditional representational materials in sculpture and he extensively uses trivial everyday material: cotton, glass, sponge, resin, paper, cellophane, cardboard, plexi-glass, polyester, silver and gold leaves, sand, soil, polystyrene, nails, quicklime and light. The philosophy of Kovačić’s oeuvre convinces us that nothing in the world is so insignificant so as not to have a particular role in the grand scheme of things. Thus, behind proud structures of human vanity, behind large buildings, imperial residences, triumphal arches, but also in nondescript stones of human modesty one can find the hidden wisdom of eternity. For this reason, even when producing monumental works such as the doors of Hvar Cathedral, Kovačić does not indulge in the ceremonial pomp of the glorious past. Besides, he does not belong to those who reconstruct large building complexes, he is not attracted to the monuments of earthly powers and wonders of the world which aim at the sky which remains always equally distant. On the contrary, he is fond of the scratches on the wall, a clumsy record in stone, which resist the progress of time as if by a miracle, outliving many famous palaces and dilapidated temples by its perpetuity. It can even be said that these frail impressions which defy transience impress him more than the structures envisaged and created to last unchanged forever. The doors he made for Hvar Cathedral are a good example of this. They have nothing in common with the classic Gothic-Renaissance forms. Here, Kovačić seems to address deeper layers of traditional forms, and in compact and robust forms we recognize the early Christian manner, but also that of the folks people’s touching sentimentality (and piety) which did not care for the refined rules of elite culture.Neither did Kovačić lose his head by pleasing the snobbish politicians and the newly converted believers when he worked on the so-called tasks of national sovereignty, following the late 1990s change of government in Croatia. However, it can be noticed that he moved away from the works such as “Velegorki”, “Lo, the Sea is Sweating with Blood” (“Evo se more znoji krvavim znojem”) and “The Description Of the Origins of Croatian Sculpture” (“Opis početaka hrvatskog kiparstva”) to the lyrical realism evident in his depicting of popes, saints, the “Altar of the Homeland”, Christ, The Last Supper, Franjo Tuđman and Gojko Šušak. Of course, this does not mean that he has lost vitality and potency, nor that these works are bad, but simply that he took a turn towards a certain type of realism and depiction of figures, instead of representing them as signs and symbols, as he had done before the “renascence of national sovereignty”.One of the large public projects by Kuzma Kovačić was the “Altar of Croatian Homeland” on Medvedgrad. This project, executed during the presidency of Franjo Tuđman (1994), caused much public dispute, whether concerning the restoration of the feudal burg or the idea that altars without a liturgical purpose should be erected to the Homeland. However, it was generally accepted that Kuzma Kovačić’s sculptural complex was the best that happened to this lay sanctification of the place. In spite of the drawing on the geometry of Croatian chequers, with Medvedgrad Kovačić also showed that he is neither a minimalist nor a reductionist who distils forms into geometric purism. His geometry is narrative, his cubes and glass shapes contain the trace of human hand, stamps of the ages and symbolical signs. However, his projects, connected to state commissions, were criticised by parts of the general public, not because of their insufficient artistic merit and obsequiousness to political establishment and their doubtful taste (in particular that which likes to see itself as generating projects of national sovereignty and veers towards kitsch), but because of the political context which was causing hatred. The same happened to the monumental public statues of Franjo Tuđman and Gojko Šušak which were evaluated mostly in the overheated political sphere of opinions for or against the persons portrayed. Not many, not even the apologeticists of HDZ nomenclature, considered Kovačić’s sculptures and their form. Perhaps the best example is the statue of Dražen Petrović which, unlike those mentioned, had no political context and thus did not cause any controversy. In any case, it is certain that even when working on large public statues or in churches, Kovačić is equally successful in mastering the monumental form, and in the intimistic rendition of the miniature form which represents the majority of his oeuvre (and also the best). In doing so, the dimensions themselves (i.e. large scale) do not mean that Kovačić has given up on sculpture which is inherently intimistic, compact, non-representational and which directs its power towards the core, rather than expanding into external rhetoric.
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Horwitz, Jonah. "Visual Style in the “Golden Age” Anthology Drama: The Case of CBS1." Cinémas 23, no. 2-3 (April 18, 2013): 39–68. http://dx.doi.org/10.7202/1015184ar.
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Despite the centrality of a “Golden Age” of live anthology drama to most histories of American television, the aesthetics of this format are widely misunderstood. The anthology drama has been assumed by scholars to be consonant with a critical discourse that valued realism, intimacy and an unremarkable, self-effacing, functional style—or perhaps even an “anti-style.” A close analysis of non-canonical episodes of anthology drama, however, reveals a distinctive style based on long takes, mobile framing and staging in depth. One variation of this style, associated with the CBS network, flaunted a virtuosic use of ensemble staging, moving camera and attention-grabbing pictorial effects. The author examines several episodes in detail, demonstrating how the techniques associated with the CBS style can serve expressive and decorative functions. The sources of this style include the technological limitations of live-television production, networks’ broader aesthetic goals, the seminal producer Worthington Miner and contemporaneous American cinematic styles.
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Colangelo, Jeremy. "Clear Indistinct Ideas: Disability, Vision, and the Diaphanous Body in Joyce’s Ulysses." Genre 53, no. 1 (April 1, 2020): 1–25. http://dx.doi.org/10.1215/00166928-8210737.
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Although disability studies researchers have long recognized the interdependence of ability and disability as socially mediated categories, few studies have taken the next logical step of examining how ability is constructed and represented in literary texts. This article pursues that line of inquiry through an analysis of the representation of vision and its limitations in James Joyce’s Ulysses, arguing that the textual construction of ability arises through the myth of the diaphanous abled body—or the assumption that nondisabled experience occurs absent bodily interference—as it relates to an analogous formal process here named the sensorytextual screen. The author shows how presumptions of what constitutes an abled body inflect the (dis)abled realism of Joyce’s novel, which at once depicts and mocks ableist presumptions. Representations of blindness, sight, and low vision thus relate intimately with modernist experiments with description and literary point of view and do so at a very fundamental level.
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Goicolea, Isabel, Carmen Vives-Cases, Anna-Karin Hurtig, Bruno Marchal, Erica Briones-Vozmediano, Laura Otero-García, Marta García-Quinto, and Miguel San Sebastian. "Mechanisms that Trigger a Good Health-Care Response to Intimate Partner Violence in Spain. Combining Realist Evaluation and Qualitative Comparative Analysis Approaches." PLOS ONE 10, no. 8 (August 13, 2015): e0135167. http://dx.doi.org/10.1371/journal.pone.0135167.
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Ermel, Marje. "Searching for the Hidden God: The Intimacy of Sound and Listening among Krishna Devotees in Mayapur." Journal of Ethnology and Folkloristics 10, no. 1 (June 1, 2016): 3–24. http://dx.doi.org/10.1515/jef-2016-0001.
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AbstractThis article looks at how the Krishna devotees in Mayapur, West Bengal, learn how to chant and listen to the sound of the holy name properly. They suggest that if one is ‘pure’ enough and knows how to listen one experiences the syneasthetic level of sound calledpashyanti. At this level, one can reach beyond the duality of the ‘hidden and manifested’ worlds, the external and internal levels of sound; and one can ultimately see God face to face. This is also considered a level at which one can realise that the sound of God’s name and God himself are the same. I will focus on how the devotees learn to create this sense of intimacy with God through the sound of his holy name, and argue that listening is not merely a process connected to our auditory sense but rather a creative and engaging activity, a skill that one can develop.
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Hosek, Jennifer Ruth. "Revolting Families: Toxic Intimacy, Private Politics, and Literary Realisms in the German Sixties by Carrie Smith-Prei." German Studies Review 38, no. 2 (2015): 456–59. http://dx.doi.org/10.1353/gsr.2015.0097.
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Condurache, Dumitriana, and Consuela Radu-Țaga. "Voices in Space or the Contemporary Realism in the Pedagogy of the Future Opera Singer." Artes. Journal of Musicology 24, no. 1 (April 1, 2021): 242–51. http://dx.doi.org/10.2478/ajm-2021-0014.
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Abstract The Romanian opera and operetta repertoire is a constant objective in the Opera Class of the Faculty of Performing, Composition, and Musical Theoretical Studies in “George Enescu” National University of Arts from Iași. The stylistic diversity and the richness of the drama make not only an important instrument for the study out of it, but also a moral debt for the knowledge and transmission of a music whose beauty – once (re)discovered – is a source of enchantment for the artists, as well as for the public. If in the beginning of the professional route singing in the mother tongue facilitates the work and the study of the opera singer, over time this option may enter an ethic of the performer, happily completing his repertoire. Although one of our main goals is to guide the students, future opera singers, to gain and to develop their acting skills so as to be natural and convincing on stage, contemporary realism does not exclude experiments. Having this in mind and in order to make studentsʼ work visible, we made an experimental video document, based on a first selection from our recitals, which is aimed to let the audience take a glance into the intimacy of our class study on Romanian opera and operetta, both from the musical and drama perspective. By changing the original objective – the entire presentation in semester exams of studentsʼ classroom work – the fragmentary nature of the processing gives a certain dynamism to our work. Changing the purpose brings things to a new light, the artistic overbearing the pedagogical, and last but not least, the Romanian music proving that it supports an experimental treatment.
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Nincic, Miroslav. "The National Interest and its Interpretation." Review of Politics 61, no. 1 (1999): 29–55. http://dx.doi.org/10.1017/s0034670500028126.
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This article discusses possible interpretations of the concept of national interest, with a view to providing a conception more analytically useful than those that have dominated the literature. It argues against the two most prevalent approaches. The first, most obviously represented by political realism, relies on a single overarching assumption that both encompasses the national interest and provides a standard for assessing how successfully it is pursued. The second, identifies a finite set of national objectives which, by possessing a large measure of the formal attributes by which the national interest is defined, are considered its proper subsets. While both approaches have their virtues, each is flawed as a method for establishing correspondence between policy and interest. The approach proposed here relies on a different principle altogether—the nature of the political procedure via which judgments about the link between foreign policy and national interest are made. The article argues that our ability to judge whether a policy does serve the national interest is intimately connected to how democratic the decision behind the policy is.
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Goicolea, Isabel, Carmen Vives-Cases, Anna-Karin Hurtig, Bruno Marchal, Erica Briones-Vozmediano, Laura Otero-García, Marta García-Quinto, and Miguel San Sebastian. "Correction: Mechanisms that Trigger a Good Health-Care Response to Intimate Partner Violence in Spain. Combining Realist Evaluation and Qualitative Comparative Analysis Approaches." PLOS ONE 10, no. 9 (September 23, 2015): e0139184. http://dx.doi.org/10.1371/journal.pone.0139184.
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Spokiene, Diana. "Revolting Families: Toxic Intimacy, Private Politics, and Literary Realisms in the German Sixties by Carrie Smith-PreiCarrie Smith-Prei. Revolting Families: Toxic Intimacy, Private Politics, and Literary Realisms in the German Sixties. University of Toronto Press. x, 204. US $65.00." University of Toronto Quarterly 85, no. 3 (August 2016): 420–22. http://dx.doi.org/10.3138/utq.85.3.420.
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Rosenberg, Anat. "Contract’s Meaning and the Histories of Classical Contract Law." McGill Law Journal 59, no. 1 (October 23, 2013): 165–207. http://dx.doi.org/10.7202/1018988ar.
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This paper argues that histories of nineteenth-century contract have been implicated in the creation of a questionable historical artifact: the story of a single meaning of contract at the decisive era for modern contract law’s development, a story intimately tied with atomistic individualism. The paper traces how the consensus has been built and kept beyond debate despite significant controversies engaging rival historical schools of nineteenth-century contract law. It does so by critically synthesizing multiple accounts of contract law, produced from the nineteenth century to our own days. It opens, however, with a brief literary excursion in order to show that there is good reason to view the consensus as unwarranted. An individualist but relational version of contract was dominant in Victorian literary realism, one of the central cultural sites of the “Age of Contract”, problematizing the story of a single meaning of contract. The consensus created by contract histories bears implications for present thought as it negotiates visions of contract, and as it explores law’s constitutive effects on social consciousness. This paper lays the consensus open so that we can let go of it.
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Roddy, Harry Louis. "Carrie Smith-Prei.Revolting Families: Toxic Intimacy, Private Politics, and Literary Realisms in the German SixtiesCarrie Smith-Prei.Revolting Families: Toxic Intimacy, Private Politics, and Literary Realisms in the German Sixties. Toronto: University of Toronto Press, 2013. 204 pp. US$65.00 (Cloth). ISBN 978-1-4426-4637-7." Seminar: A Journal of Germanic Studies 51, no. 3 (September 2015): 290–92. http://dx.doi.org/10.3138/seminar.2015.51.3.290.
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