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Autore: Grafiati

Pubblicato: 25 luglio 2024

Ultima modifica: 26 luglio 2024

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1

Rontsch, Marc. "‘Talent Offends, Genius Terrifies’". Persona Studies 8, n. 1 (14 settembre 2022): 131–42. http://dx.doi.org/10.21153/psj2022vol8no1art1553.

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Christopher Langford James (1952 – 2008) was a Zimbabwean-born composer, orchestrator and pianist, whose style conflated traditional European musical textures with southern African instrumentation, rhythms, and harmonies. His compositions include works such as Four Portraits for Pianoforte in Four Movements (1982), Songs of Lamentation and Remonstration (1985), Images of Africa (1987), and Paradise Regained (1999). While my research on James’s life and music has uncovered multiple angles for critical inquiry, the dominant narrative that emerged from interviews with his family, and discussions with colleagues, was that of mental illness. This article argues that mental illness – while being a very real condition experienced by James – can simultaneously be understood as doing persona work. Through the intersecting frameworks of persona studies and life writing, this article critically interrogates the understanding of stereotypical concepts of mental illness within the construct of what Kim Barbour terms ‘artistness’. Through critical examination of how mental illness is understood and interpreted as a central construction of artistness, this article speaks to the complexity of the construction of James’s biography, and how the narrative performance of James’s mental illness can be understood within the framework of persona studies.

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Stuhr, John J. "Radical Empiricism: William James and Gilles Deleuze". Contemporary Pragmatism 18, n. 4 (29 novembre 2021): 370–92. http://dx.doi.org/10.1163/18758185-bja10026.

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Abstract Both William James and Gilles Deleuze labeled their philosophies "radical empiricism." In this context, this essay explores the similarities and differences between James's radical empiricism (particularly as it is present early inches Principles of Psychology) and Deleuze's "transcendental empiricism" (particularly as set forth in The Logic of Sense). These accounts then inform a view of philosophy understood as a creative art. This art demands flexible habits--what James termed "genius"--in a changing world. Accordingly, radically empirical accounts of creativity and genius are sketched.

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Robertson, Ian H. "Grasping the Nettle of Attention". Journal of the International Neuropsychological Society 6, n. 6 (settembre 2000): 737–38. http://dx.doi.org/10.1017/s1355617700246134.

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It is a testimony to the genius of William James that scarce a lecture on attention passes without the speaker quoting him on the subject. This has, however, also been a cause for concern: do we really understand any more about this amorphous topic now, than we did when James wrote Principles of Psychology? It might occur to more jaundiced reviewers that the fact that James abandoned psychology completely after finishing this great book implies that he was beaten by the subject of attention, for, in many senses, the study of attention is at the very heart of the science of psychology. And if the founding genius of psychology could not crack the code of attention, is there any hope for the rest of us?

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Stevens, John. "Review by Justice John Paul Stevens (Ret.)". Michigan Law Review, n. 117.6 (2019): 1019. http://dx.doi.org/10.36644/mlr.117.6.review.

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Humeniuk, H. B., M. Z. Mosula, I. B. Chen e N. M. Drobyk. "James Watson’s genius (dedicated to the 90th birth anniversary)". Faktori eksperimental'noi evolucii organizmiv 22 (9 settembre 2018): 363–67. http://dx.doi.org/10.7124/feeo.v22.976.

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The scientific and organizational activities of the worldwide known scientist in the field of molecular biology James Dewey Watson were described in this article. 55 years ago James Watson and Francis Crick made one of the key discoveries of the twentieth century. They have found that DNA has a double helix structure. This discovery was based on the X-rays patterns obtained by Maurice Wilkson and Rosalind Franklin. Subsequently, this DNA model had been proved, and J. Watson and F. Crick were awarded with the Nobel Prize in Physiology or Medicine in 1962. Since, our knowledge of the main molecule of life has been greatly expanded. A significant flowering of molecular genetics has began: synthesis of RNA and DNA in vitro, decoding of genetic code, recombinant DNA technology, genetic engineering, sequencing of genomes and post genomic technologies. James Watson is one of the authors of the cell biology classic textbook “Molecular Biology of the Cell”. In addition, he has developed the current areas of molecular biology such as molecular oncology and molecular neurobiology. Today genomes of different animals and humans have been decoded and the functions of many genes have been determined. But at present still unknown how the DNA starts and how it affects the work of the organs and the organism as a system. Keywords: James Watson, DNA structure, Nobel Prize in physiology or medicine, Molecular Biology of the Cell.

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Simonton, Dean Keith. "Creative Genius as Causal Agent in History: William James's 1880 Theory Revisited and Revitalized". Review of General Psychology 22, n. 4 (dicembre 2018): 406–21. http://dx.doi.org/10.1037/gpr0000165.

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Near the onset of his illustrious career, the psychologist William James proposed a theory of how individual genius can exert a unique and enduring causal impact on the history of civilization. After first attacking the prevailing view that sociocultural determinism rendered individual creators and leaders mere epiphenomena, James argued that the causal effect of the genius paralleled that of the spontaneous variation or mutation in the theory of evolution by natural selection. Although his specific arguments suffer severe problems even from the standpoint of his own theory, current psychological research on creativity and genius indicate how his basic thesis can be revised and updated with respect to creative genius. This revision and updating concentrates specifically on what is known about the behavioral productivity, thinking processes and procedures, personality characteristics, and early developmental experiences in highly creative individuals. These modern enhancements then lead to the integrated discussion of Jamesian free will and the causal agency of the creative genius. The net result is a revitalized theory of how it even becomes possible for single individuals to make creative choices that not only may cause changes in their own lives, but also alter the course of world history.

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Brown, Lois. "I AM A GENIUS DOES ANYONE HERE KNOW ME?" Canadian Journal of Disability Studies 10, n. 2 (8 ottobre 2021): 309–15. http://dx.doi.org/10.15353/cjds.v10i2.806.

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Lois Brown attended VIBE International Symposium at Concordia University, November 30 - December 2, 2018, where she performed a twenty-minute solo version of I AM A GENIUS DOES ANYONE HERE KNOW ME? This performance was based on a 70 minute piece also titled I AM A GENIUS DOES ANYONE HERE KNOW ME? created by Lois Brown and composed by James O’Callaghan. Trailer: https://vimeo.com/289326915

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EDWARDS, Kevin J. "James Croll – bicentenary and biography, from janitor to genius". Earth and Environmental Science Transactions of the Royal Society of Edinburgh 112, n. 3-4 (settembre 2021): 159–63. http://dx.doi.org/10.1017/s1755691021000335.

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Lehman, Robert S. "Original Nonsense: James Joyce, Marcel Duchamp, and Modernism's Genius". Modernism/modernity 27, n. 2 (2020): 339–60. http://dx.doi.org/10.1353/mod.2020.0026.

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Mills, R. J. W. "Perman, James Hutton: The Genius of Time". Scottish Historical Review 103, n. 1 (aprile 2024): 191–93. http://dx.doi.org/10.3366/shr.2024.0658.

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11

Boswell, Freddy. "Review of: The King James Version at 400: Assessing Its Genius as Bible Translation and Its Literary Influence, eds. David G. Burke, John F. Kutsko, Philip H. Towner". Journal of Translation 19, n. 1 (2023): 123–26. http://dx.doi.org/10.54395/jot-jnprm.

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The King James Version at 400: Assessing Its Genius as Bible Translation and Its Literary Influence. David G. Burke, John F. Kutsko, and Philip H. Towner, eds. Atlanta: Society of Biblical Literature, 2013. xxv + 553 pp. Reviewed by Freddy Boswell.

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Powers, Lyall H. ": Henry James: The Imagination of Genius: A Biography. . Fred Kaplan." Nineteenth-Century Literature 48, n. 3 (dicembre 1993): 399–401. http://dx.doi.org/10.1525/ncl.1993.48.3.99p0035c.

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Ashman, Lewis. "Ray Perman, James Hutton: The Genius of Time". Innes Review 75, n. 1 (maggio 2024): 65–72. http://dx.doi.org/10.3366/inr.2024.0362.

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Olszak-Häußler, Karolina. "Doctor James Brussel and his method of offender profiling". Issues of Forensic Science 305 (2019): 50–59. http://dx.doi.org/10.34836/pk.2019.305.3.

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James Brussel is considered the creator of the first modern characteristics of an unknown crime perpetrator and the founding father of criminal profiling. In literature of the subject this individual is usually reduced to the story of buttoned up double-breasted suit worn by “the Mad Bomber”, George Metesky, which is considered the evidence of the genius shrewdness of this New York psychiatrist and criminologist and the potential lying in criminal profiling. The method used by Brussel has not yet been systematically described. The present article fills this gap and demonstrates that the views of the American psychiatrist, based on Kretschmer’s constitutional theory, psychoanalysis and intuition, have influenced and continue to influence his followers who elaborate characteristics of unknown crime perpetrators around the world, including Poland. The article also points to possible benefits and threats to criminal proceedings that using the above method may bring about.

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Anderson, Quentin. "Henry James, The Imagination of Genius: A Biography (review)". Henry James Review 14, n. 2 (1993): 223–25. http://dx.doi.org/10.1353/hjr.2010.0305.

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YOUNG, RONNIE. "James Beattie and the Progress of Genius in the Aberdeen Enlightenment". Journal for Eighteenth-Century Studies 36, n. 2 (19 ottobre 2012): 245–61. http://dx.doi.org/10.1111/j.1754-0208.2012.00531.x.

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McGorrery, Paul. "James C Oleson, Criminal genius: A portrait of high-IQ offenders". Australian & New Zealand Journal of Criminology 50, n. 4 (26 maggio 2017): 632–34. http://dx.doi.org/10.1177/0004865817712212.

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Zon, Bennett. "From great man to fittest survivor: Reputation, recapitulation and survival in Victorian concepts of Wagner's genius". Musicae Scientiae 13, n. 2_suppl (settembre 2009): 415–45. http://dx.doi.org/10.1177/1029864909013002181.

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The transposition of the Great Man into the Fittest Survivor is at the very root of an endemic interchange between the sciences and the arts in late Victorian culture, giving rich metaphoric substance to more heavily concretised scientific terminology. Herbert Spencer's famous phrase, “survival of the fittest” is, arguably, one of the most commonly transposed and consequently influential scientific expressions of the Victorian period, and as such, one of its most malleable idioms. In Victorian musicology this influence is especially obvious in biographical works which privilege Richard Wagner as the greatest genius of musical history. Thus in Mezzotints in Modern Music (1899) James Huneker declares that “Wagner carried within his breast the precious eucharist of genius. ” It is the attitude of Huneker and like-minded musicologists, like C. Hubert H. Parry, William Wallace, Francis Hueffer and Richard Wallaschek, which forms the basis of a three-part exploration of Wagner's genius, covering (1) the role of “endurance” in Victorian definitions of genius, from Carlyle and Sully to Galton; (2) the influence of German morphology on evolutionary terminology in Britain, with particular reference to ontogeny, phylogeny and recapitulation; and (3) Spencer's adaptation of German morphology and his influence on Victorian perceptions of Wagner's genius. These collectively argue through the paradigm of Wagner that the formulation of late Victorian musical genius was incomplete without recourse to evolutionary terminology of survival. Indeed, for Victorian musicology, Wagner, the Great Man, had evolved Into Wagner, the Fittest Survivor.

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Myer, Walter. "Get on the Scene Like a Tax Machine". Legal Information Management 19, n. 01 (marzo 2019): 61–62. http://dx.doi.org/10.1017/s1472669619000136.

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For all his genius as a musician and performer, James Brown never got his head around taxes. His run-ins with the IRS were well documented, at one point leading to a jail sentence. Between recordings and countless live performances, he clearly struggled to keep abreast of his fiscal responsibilities, which begs the question: might a computational system of tax law have helped the Godfather of Soul stay in the IRS's good books?

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Casdorph, Paul D. "Alleged Evil Genius: The Life and Times of Judge James H. Ferguson (review)". West Virginia History: A Journal of Regional Studies 1, n. 2 (2008): 104–5. http://dx.doi.org/10.1353/wvh.2008.0017.

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21

Davis, W. B. "The First Systematic Experimentation in Music Therapy: The Genius of James Leonard Corning". Journal of Music Therapy 49, n. 1 (1 marzo 2012): 102–17. http://dx.doi.org/10.1093/jmt/49.1.102.

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22

Bernhofen, Daniel M., e John C. Brown. "Retrospectives: On the Genius Behind David Ricardo's 1817 Formulation of Comparative Advantage". Journal of Economic Perspectives 32, n. 4 (1 novembre 2018): 227–40. http://dx.doi.org/10.1257/jep.32.4.227.

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Last year marked the 200th anniversary of Ricardo’s famous “four numbers” paragraph on comparative advantage, which is one of the oldest analytical results in economics. Following the lead of James Mill (1821), these four numbers have been interpreted as unit labor coefficients. This interpretation has provided the basis for the development of the ‘Ricardian model’ from John Stuart Mill (1852) to Eaton and Kortum (2002). However, if we accept the labor unit interpretation of these numbers, Ricardo’s exposition in his 1817 Principles of Political Economy and Taxation makes little logical sense. Building on Sraffa’s (1930) interpretation of Ricardo’s numbers as labor embodied in trade, our discussion reveals the amazing simplicity and generality of Ricardo’s comparative advantage formulation and gains-from-trade logic.

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Breathnach, Caoimhghin S., e Conor Ward. "The Victorian genius of Earlswood – a review of the case of James Henry Pullen". Irish Journal of Psychological Medicine 22, n. 4 (dicembre 2005): 151–55. http://dx.doi.org/10.1017/s0790966700009290.

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SummaryLondon born James Henry Pullen (1836–1915) was admitted to Essex Hall in Colchester, an institution catering for learning disability, at the age of 13. Here his artistic talent was spotted before he moved two years later to Earlswood Asylum for Idiots, where he was apprenticed to woodworking. Such was his manual skill he was eventually employed making furniture for the asylum. His artistic propensity was similarly encouraged and although he never mastered coherent speech he has left a pictorial autobiography of some distinction. At observation he underwent detailed examination by Frederich Sano (1871–1946), particular attention being paid to tokens of arrested development. The clinical and pathological evidence of a pervasive developmental disorder points to a retrospective diagnosis of autism.

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Hales, Christopher. "From Basement to Campus: the Affordances and Genius Loci of a University". Scriptus Manet: humanitāro un mākslas zinātņu žurnāls = Scriptus Manet: Journal of Humanities and Arts, n. 10/11 (2 settembre 2020): 75–85. http://dx.doi.org/10.37384/sm.2020.10.11.075.

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Šī raksta mērķis ir piedāvāt interesantu ieskatu dažos faktoros, kam var būt nozīme sadarbībā un apmaiņā starp universitātēm tādu programmu kā Erasmus ietvaros, un kvalitātēs, kas var konkrētu universitāti padarīt par apdzīvojamu vietu ilgākā laika periodā. Dažādas analītiskas pieejas var ņemt vērā dažādus faktorus – tādus kā finanses, ceļošanas iespējas, personiskā motivācija un attiecīgo izglītības programmu saturs. Šeit izmantota pieeja, kas atļauj refleksiju par vietu un telpu (šajā gadījumā izglītības iestāžu, kas var būt atsevišķas pilsētiņas, atrasties pilsētā vai ārpus tās) īpašībām un vēsturi. Ar Mišela de Serto (Michel de Certeau) un Mihāja Čīksentmihāji (Mihaly Csikszentmihalyi) teoriju palīdzību rakstā tiek iesākts pētījums, vai Džeimsa Dž. Gibsona (James J. Gibson) teorija par vietas piedāvātajiem resursiem ir izmantojama, pētot to, ko piedāvā universitāte/mācību centrs, un – pretēji – vai genius loci, kā šo jēdzienu apskatījis Kristians Norbergs-Šulcs (Christian Norberg-Schulz), var būt lietderīga pieeja.

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DRURY, SARAH. "SCHOOL OF GENIUS: A HISTORY OF THE ROYAL ACADEMY OF ARTS BY JAMES FENTON". Art Book 13, n. 4 (novembre 2006): 36–37. http://dx.doi.org/10.1111/j.1467-8357.2006.00727.x.

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North, Wendy. "James H. Charlesworth, Jesus as Mirrored in John: The Genius in the New Testament". Theology 122, n. 5 (27 agosto 2019): 379–80. http://dx.doi.org/10.1177/0040571x19858952h.

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Krasavchenko, Tatiana. "GENIUS AND MONSTER IN "THE HOUSE OF LITERATURE": DOSTOEVSKY’S REPUTATION IN BRITAIN". Herald of Culturology, n. 4 (2021): 61–86. http://dx.doi.org/10.31249/hoc/2021.04.04.

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Dostoevsky was perceived in Britain as the most unusual and incomprehensible of Russian writers, a prophet, a sage who discovered the truths of life, the depths of human psychology, a preacher of suffering, madman and monster, but not a novelist in the conventional sense. His going beyond aesthetic and social national standards helped British writers in their aesthetic quest and scared them. His novels seemed shapeless, «fluid puddings» (H. James), dangerous to the norms of the British prose. His ethical standards, based on the ethics of Orthodoxy, opposed English culture, which focused mainly on Protestant ethics - action, individualism, pursuit of well-being, happiness. The author of the article analyzes the perception of Dostoevsky by O. Wilde, R. Stevenson, G.K. Chesterton, A. Bennett, by modernists - V. Woolf, E.M. Forster, D.H. Lawrence. T.S. Eliot, W. Lewis, D.M. Murry, as well as W. Somerset Maugham and M. Bradbury. Despite the ambivalent attitude towards him, Dostoevsky entered the British pantheon of foreign literature, although not without a sqeak.

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reviewers, Various. "Book reviews". Notes and Records of the Royal Society of London 56, n. 1 (22 gennaio 2002): 105–20. http://dx.doi.org/10.1098/rsnr.2002.0171.

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Ten book reviews in the January 2002 issue of Notes and Records : Frances Ashcroft, Life at the extremes: the science of survival . Rethinking the Scientific Revolution , edited by Margaret J. Osler. Abraham Pais, The genius of science. A portrait gallery of twentieth-century physicists . Elly Dekker, Globes at Greenwich . John D. Barrow, The book of nothing . Adam Hart-Davis, Chain reactions: pioneers of British science and technology and the stories that link them . Newton and religion: context, nature, and influence , edited by James E. Force and Richard H. Popkin. Roy M. MacLeod, The ‘creed of science’ in Victorian England . R. A. Fortey, F.R.S., Trilobite! Eyewitness to evolution . Owen Beattie and John Geiger, Frozen in time: the fate of the Franklin expedition .

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Al Mousawi, Aqeel Al Mousawi. "Employing (Artificial Intelligence) Techniques in the Aesthetic Construction of Cinematic Tricks in the Cinematic Film". Journal Port Science Research 7, issue (29 maggio 2024): 57–66. http://dx.doi.org/10.36371/port.2024.special.8.

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Cinema is a unique art based on innovation and scientific inventions in addition to the talent and genius of directors, and directors such as Edison, the inventor of the motion picture, the Le Maire brothers, the pioneers of the cinema projector, the Frenchman of genius imagination and visual creativity, Georges Mila and Gervath, the creator of magazines. Editing, photography, directing and innovations such as motion pictures, sound entry to the cinema, color film tape, wide lenses, 3D imaging, films that used scientific techniques, such as the Star Wars series of director Lucas, the Jurassic Park series of Spielberg films, and computer technologies developed by James Cameron are all They are considered as basic pillars of a world full of excitement and suspense called cinema, and cinema is still to this day making rapid and interesting transitions in the world of entertainment because it attracts the latest scientific innovations in the field of motion picture, and among the modern and important innovations, the use of artificial intelligence techniques in the manufacture of cinematic trick scenes Whether by making movie scenes backgrounds, digital characters, or controlling lighting and a camera, to be either a must Let's talk about movie workers or a key element to help movie workers.

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Ponterotto, Joseph G., e Jason D. Reynolds. "The “Genius” and “Madness” of Bobby Fischer: His Life from Three Psychobiographical Lenses". Review of General Psychology 17, n. 4 (dicembre 2013): 384–98. http://dx.doi.org/10.1037/a0033246.

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Robert (Bobby) James Fischer (1943–2008) remains one of the most puzzling and enigmatic personalities in modern American history. In 1972, at the height of Cold War tensions between the Soviet Union and the United States, Bobby Fischer defeated Soviet Boris Spassky to become the first official world chess champion from the United States. Two decades later, after playing a rematch with Spassky in war-torn Yugoslavia, Fischer became a fugitive from U.S. justice. Although always an independent, autonomous, and forthright person, Fischer's behavior after the 1972 championship grew increasingly strange and bizarre. “Who was Bobby Fischer and what happened to him” is a lingering question that has not been adequately answered by psychologists, historians, and biographers. The present article examines the life of Bobby Fischer from three diverse psychobiographical lenses: Erikson's (Erikson, E. H. [1950]. Childhood and society. New York, NY: Norton) psychosocial development model; the clinical diagnostic model of the Shedler-Westen Assessment Procedure (SWAP; Shedler, J. [2009]. Guide to SWAP-200 Interpretation. Shedler-Westen Assessment Procedure: Where Science Meets Practice. www.SWAPassessment.org ); and a strengths-based positive psychology model (Peterson, C., & Seligman, M. E. P. [2004]. Character strengths and virtues: A handbook and classification. Oxford, UK: Oxford University Press.). Suggestions for advancing the science of psychobiography are put forth with particular emphasis on incorporating mixed methods approaches to research.

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Karpinski, Eva C. "Hélène Cixous’s „The Exile of James Joyce”: A Biographical Limit Case". Anglica Wratislaviensia 55 (18 ottobre 2017): 35–45. http://dx.doi.org/10.19195/0301-7966.55.3.

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This article examines Hélène Cixous’s biographical monograph The Exile of James Joyce as a limit case of biographical praxis. Joyce’s biography is read in the context of Cixous’s own evolving personal motif of exile, revealing her autobiographical investment in becoming a writer through reading Joyce. She pushes the boundaries of the biographical genre at the intersections of autobiography, literary criticism, and biography, defying simple generic classifications and exposing the limits of conventional demarcations between the artist, the work, the biographer, and the critic. As a result, the text becomes a creative-interpretive hybrid project, where the biographical code has been displaced by focus on epistemological, psychological, and textual problems implicit in the relationship between the biographer and the biographical subject. Her approach invites us to consider the following questions: How does she rewrite Joyce through her own multiple experiences of exile that she also shares with Jacques Derrida? What difference does gender make in the construction of the biographical subject as the great modernist “genius”? How does gender marginalization impact her authority as a biographer? The discussion is also framed through some larger questions concerning the aesthetic, epistemological, ethical, and political role of biography in approaching modernist literature and culture: Is biography an art or a craft? What kind of knowledge does biography generate? How far is biography a form of discursive violence and voyeurism? How can attention to affect and intimacy offer new insights into the aesthetics of the biographical genre?

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Hiranyatheb, Thanomnual. "‘Who Is’t can Read a Woman?’: Representation of Queen Elizabeth I in Cymbeline". MANUSYA 8, n. 4 (2005): 1–23. http://dx.doi.org/10.1163/26659077-00804001.

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This article is an attempt to read Cymbeline (1608-1610), one of Shakespeare’s so-called ‘final plays’ or ‘romances’ as a site of cultural responses to the remaining ‘presence’ of the late Queen Elizabeth I and her cultural associations in the context of the reign of her gender-different successor, King James I. It argues that these responses can be seen in the play’s portrayal of two characters in the play, namely the Wicked Queen and to a lesser extent, Imogen, in which the figure of the late queen is played out and marginalized, and proposes that these representations are ways in which the Jacobean culture deals with and exorcises its anxieties about the late monarch’s sometimes contradictory (self-appointed) role as a militant, powerful and inscrutable ‘woman-on-top’, which disrupted ‘natural’ gender distinction in the political climate of James I’s reign, during which pacifism, transparency and patriarchalism were highly advocated, especially by the king himself and other writers. It is hoped that this article can offer a reading of the play, not by interpreting it as a complete-in-itself and truth-reflecting work of art by a literary genius according to the romantic-humanistic conception of the ‘author’ and ‘literature,’ but rather by taking into accounts political, social and cultural forces that were circulated during the time of composition and reception of the play and with which it interacted.

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Collins, Anthony. "John Stanislaus Joyce: The Voluminous Life and Genius of James Joyce’s Father by John Wyse Jackson, Peter Costello (review)". New Hibernia Review 2, n. 3 (settembre 1998): 152–53. http://dx.doi.org/10.1353/nhr.1998.a926642.

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Camargo, Carlos Henrique F., e Augusto Bronzini. "Tourette's syndrome in famous musicians". Arquivos de Neuro-Psiquiatria 73, n. 12 (6 ottobre 2015): 1038–40. http://dx.doi.org/10.1590/0004-282x20150148.

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Tourette's syndrome (TS) is defined as a disorder characterized by multiple motor tics and at least one vocal tic that have lasted for not less than one year. It is a relatively complex neurobehavioral disorder, in which patients may present with coexistent attention deficit hyperactivity disorder, obsessive-compulsive disorder or other behavioral comorbidities. The musical genius Wolfgang Amadeus Mozart (1756-1791) and the rock star Kurt Cobain (1967-1994) may both have suffered from TS, and some contemporary musicians have had their clinical condition confirmed as TS. Our hypothetical diagnosis of TS in Mozart and Cobain is based on the presence of tics and psychiatric comorbidities. In contemporary musicians, such as Michael Wolff, Nick Van Bloss and James Durbin, TS has often only been diagnosed after a considerable delay. This delay in diagnosis and the controversies surrounding the clinical case of Mozart show how difficult a confirmatory diagnosis of this complex disease is.

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Kaplan, Cora. "Cheryl Wall, In Memoriam". James Baldwin Review 7, n. 1 (28 settembre 2021): 213–44. http://dx.doi.org/10.7227/jbr.7.14.

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The distinguished critic Professor Cheryl A. Wall (1948–2020) was the Board of Governors Zora Neale Hurston Professor of English at Rutgers University, New Brunswick. Her path-breaking scholarship in two highly influential monographs, Women of the Harlem Renaissance (1995) and Worrying the Line: Black Women Writers, Lineage, and Literary Tradition (2005), helped to ensure that twentieth-century Black women writers were recognized and valued for their power, genius, and complexity. Her most recent book, On Freedom and the Will to Adorn: The Art of the African American Essay (2018), places the essay form at the center of African American literary achievement. Throughout her long career she supported and enabled Black students, and championed racial diversity and gender equality at every level of the university. An Associate Editor of James Baldwin Review, she was the most generous and astute of readers, as well as a wise editor. In this memorial section, fifteen colleagues, former students, and interlocutors share their remembrances and honor her legacy.

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Best, Will. "Social Media and Modernist Authority: The Hauntology of Facebook". Persona Studies 6, n. 1 (22 settembre 2020): 83–99. http://dx.doi.org/10.21153/psj2020vol6no1art872.

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Highly biographical Modernist author profiles on Facebook seem to adopt or encourage a purely biographical, Genius Cult-esque understanding of the relationship between an author and that author's work. This is initially problematic, as authorial intent is a particularly complex issue of consideration for many of the authors currently haunting Facebook. This article thus establishes the paradoxical view on author-ity of three such authors -- T. S. Eliot, Marianne Moore, and James Joyce -- and examines how such Facebook profiles undermine and simplify the arguments made by these authors both through their critical and creative works. It then suggests that, by mere nature of being present on Facebook, these profiles may indeed engage in teasing out the very same paradox that these Modernists proposed in the first place, using Derrida's Hauntology to examine Facebook as a textual space both of biography and self-prosthesis. The argument ultimately seeks to propose that all Facebook users are indeed just such spectres haunting digital spaces.

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Perutz, Max. "Book reviews". Notes and Records of the Royal Society of London 54, n. 3 (22 settembre 2000): 387–408. http://dx.doi.org/10.1098/rsnr.2000.0119.

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Twelve book reviews in the September 2003 issue of Notes and Records : Georgina Ferry, Dorothy Hodgkin: a life . J.D. Bernal: a life in science and politics . Edited by Brenda Swann and Francis Aprahamian. Max Perutz, I wish I'd made you angry earlier. Essays on science and scientists . A. Rupert Hall, Isaac Newton: eighteenth-century perspectives . G.I. Brown, Count Rumford. The extraordinary life of a scientific genius . The correspondence of Michael Faraday , volume 4. Edited by Frank A.J.L. James. The philosopher's tree: A selection of Michael Faraday's writings . Compiled, with commentary, by Peter Day. Science and exploration in the Pacific. European voyages to the Southern Oceans in the 18th century . Edited by Margarette Lincoln. Gillian Beer, Open fields: science in cultural encounter . Rocky Kolb, Blind watchers of the sky . Jan Golinski, Making natural knowledge. Constructivism and the history of science . Simon Conway Morris, The crucible of Creation: the Burgess Shale and the rise of animals .

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TERKI, NASSIMA. "When Literature Turns into History: Heart of Darkness (1902) by Joseph Conrad and Avatar (2009) by James Cameron". LITERATURE AND FILM / LITTÉRATURE ET FILM / LITERATURĂ ȘI FILM 32, n. 2 (2024): 77–86. http://dx.doi.org/10.47743/aic-2023-2-0007.

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More than one century after the publication of Heart of Darkness, Joseph Conrad’s conceptualization of the world and representation of both the Whiteman and the African black characters still have an impact on the representation of the Other whether African or nonAfrican. This article examines the legacy of Conrad’s novel through James Cameron’s Avatar produced by 20th Century Fox and released in 2009. It mainly refers to Roland Barthes’s view of connotation and denotation and art, in this case image and cinema, as a means to transit meaning. His framework is developed in Mythologies (1972), ImageMusic-Text (1977) and Elements of Semiology (1986). The analysis relies on specific selected citations from Conrad’s novel and their equivalent visual quotations from Cameron’s media text focusing on four signs. I study Avatar as a text that reproduces Conrad’s novel, which certifies the internal and external impact of expressions such as “the interminable waterway” and “the European genius” on twenty-first century cinema. Conrad’s masterpiece still draws the faces of the non-Western that Hollywood unconsciously reproduces.

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McGinn, Clark. "‘The Improvidence of Men of Genius is Proverbial’: Sympathy, Charity and Patronage for the Burns Family Following the Poet's Early Death". Scottish Historical Review 101, n. 1 (aprile 2022): 46–85. http://dx.doi.org/10.3366/shr.2022.0547.

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Robert Burns died in 1796, leaving his widow and children with no financial security. His friends and admirers, through charitable appeals and James Currie's four-volume edition of his life and works, raised a capital sum which allowed Jean Armour Burns to remain in the family home and raise their children until adulthood, when several powerful individuals granted the poet's sons patronage in the service of HM Government and the Honourable East India Company. Later, other relatives and descendants also received charity when facing old age or financial hardship, the last recipient dying as recently as 1944. The equivalent of £8 million (at 2020 values) was raised through public appeal and private patronage for the poet's family, significantly in excess of the monies later subscribed for monuments to the bard. This wellspring of generosity has a level of irony given the very limited patronage Burns received in his final years, and his own attitude to gratuitous charity, his vaunted independence and his expressed dislike of ‘placemen’.

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Boyle, John. "From Metapsychology to Magnetic Gnosis: An Esoteric Context for Interpreting Traumatic Modes of Transcendence in Sándor Ferenczi's Clinical Diary and Elizabeth Severn's The Discovery of the Self". Psychoanalysis and History 23, n. 3 (dicembre 2021): 297–323. http://dx.doi.org/10.3366/pah.2021.0396.

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It has been argued that the essential themes in Sándor Ferenczi's Clinical Diary (1932) centre around three major axes (theoretical, technical and personal). This paper proposes a fourth: namely, an occult or esoteric axis. To make the case for its presence in the Clinical Diary, the article provides a brief introduction to the academic study of Western esotericism in order to more adequately situate its proximate fin de siècle occult precursors vis-à-vis psychoanalytic metapsychology. A brief account of Ferenczi's correspondence with Freud on the role of the occult in psychoanalysis is then provided. This constitutes the necessary context for embarking upon an investigation into the ‘psychognostic’ metapsychology co-developed during the course of Ferenczi's ‘mutual analysis’ with the so-called ‘evil genius’, Elizabeth Severn. By way of conclusion, James Grotstein's account of a ‘numinous and immanent psychoanalytic subject’ is highlighted as the locus for a synergistic rapprochement between pre-Freudian and contemporary psychoanalytic conceptualizations of the subject congruent with the ‘Orphic trajectory’ outlined in this paper.

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Robinson, Terry F. "Erratum: James Kenney's Comedic Genius: Early Nineteenth-century Character, Commerce, and the Arts inRaising the Wind,The World!, andDebtor and Creditor". Literature Compass 10, n. 9 (settembre 2013): 734. http://dx.doi.org/10.1111/lic3.12093.

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Graham, W. "Literature as Conduct: Speech Acts in Henry James; Troubling Minds: The Cultural Politics of Genius in the United States, 1840-1890". American Literature 79, n. 2 (1 giugno 2007): 417–19. http://dx.doi.org/10.1215/00029831-79-2-417.

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CHAMETZKY, PETER. "ARTISTS AS AVATARS". Modern Intellectual History 11, n. 1 (5 marzo 2014): 237–52. http://dx.doi.org/10.1017/s1479244313000413.

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Are artists crazy? Are creators more likely to be mad, or madder, than the rest of us? Does mental distress deepen artistic vision? Correlate to genius? Is the drive to fashion a personal pictorial or plastic universe pathological? Bettina Gockel's hefty Tübingen Habilitationsschrift, “The Pathologizing of the Artist: Artist Legends in Modernity,” documents the significant amount of mental energy expended exploring these and related questions from the mid-nineteenth century into the 1920s. Matthew Biro's The Dada Cyborg argues that the Dadaists’ montages, assemblages, and raucous agitational activities in the public sphere of World War I-era Berlin indicate modernity's disruption of stable subject positions and suggest instead hybrid, “cyborgian” identities. These included challenges to normative notions of sanity, but also to those of gender, ethnicity, race, and national and political allegiance. James van Dyke's study of the Weimar- and Nazi-era career of painter Franz Radziwill, a World War I veteran and self-taught reactionary modernist realist, provides a detailed case study of an artist whom one might, in retrospect, suspect of a degree of grandiosity and careerism bordering on the pathological, but who was driven by a complex of motivations as political as they were personal.

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Robinson, Terry F. "James Kenney's Comedic Genius: Early Nineteenth-century Character, Commerce, and the Arts in Raising the Wind, The World!, and Debtor and Creditor". Literature Compass 3, n. 5 (settembre 2006): 1082–106. http://dx.doi.org/10.1111/j.1741-4113.2006.00373.x.

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Ganeri, Jonardon. "Fernando Pessoa: The Poet as Philosopher". Royal Institute of Philosophy Supplement 93 (maggio 2023): 193–208. http://dx.doi.org/10.1017/s135824612300005x.

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AbstractFernando Pessoa (1888–1935) lived what was in many ways an astonishingly modern, transcultural, and translingual life. He was born in Lisbon, the point of departure for Vasco da Gama's voyage to India as commemorated by Pessoa's forebear, the poet Luís de Camões. Pessoa grew up in Anglophone Durban, acquiring a lifelong love for English poetry and language. Returning to Lisbon, from where he would never again leave, he set himself the goal of travelling throughout an infinitude of inner landscapes, to be an explorer of inner worlds. He published very little, but left behind a famous trunk containing a treasure trove of scraps, on which were written some of the greatest literary works of the twentieth century, mainly in Portuguese but also a substantial amount in English and French. Pessoa is now acknowledged as one of the greatest poets of the twentieth century, and he has emerged over the last decade as a forgotten voice in twentieth-century modernism, taking his rightful place alongside C.P. Cavafy, Franz Kafka, T.S. Eliot, James Joyce, and Jorge Luis Borges. Pessoa was also a serious student of philosophy and himself a very creative philosopher, yet his genius as a philosopher has as yet hardly been recognized at all.

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Avery, Tamlyn. "“Split by the Moonlight”: Beethoven and the Racial Sublime in African American Literature". American Literature 92, n. 4 (6 ottobre 2020): 623–52. http://dx.doi.org/10.1215/00029831-8780863.

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Abstract As Nathan Waddell has recently argued of the literary modernists whose aesthetic incorporation of the Beethovenian legend complicates the dominant view of modernism as an antitraditionalist enterprise, Ludwig van Beethoven’s music has in fact left a more significant and complicated mark on African American literature relating to the sublime properties of his musical aesthetic than has previously been recognized. As a point of departure, I apply Michael J. Shapiro’s definition of the racial sublime as a confrontation with the “still vast oppressive structure that imperils black lives” to the setting of twentieth-century African American literature, where Beethoven’s Romantic sublime often stands in for the racial sublime. This transference, I argue, is not an expression of the artist’s repressed instinctual conflict, the mere sublimation of their devotion to “white” culture and the cult of genius, as Amiri Baraka once suggested. Rather, Beethoven’s music formed a persistent and powerful political allegory of the racial sublime for many prominent twentieth-century authors in their literary works, where the sublime constitutes a sublimation of direct forms of power into a range of aesthetic experiences. This can be observed in the Beethovenian ekphrasis featured in prose works by James Weldon Johnson, Langston Hughes, James Baldwin, and Ralph Ellison—four writers whose works have also been considered indebted to blues and jazz musical influences and who approach the racial sublime not through language but by appealing to music’s nonsignifying suggestiveness, in order to capture the intensities that radiate out of these encounters. As this article reveals, their allegorical uses for Beethoven are not unitary. The forcefield of the racial sublime is registered allegorically through the performative sublime of Sonata “Pathétique” in Johnson’s The Autobiography of an Ex-Colored Man (1912); the sublime melancholy of the “Moonlight” Sonata in Hughes’s tragic short story “Home” (1934); the spiritual sublime of Beethoven’s piano concerti and the Ninth Symphony in Baldwin’s short story “Previous Condition” (1948); and the heroic sublime of the Fifth Symphony in Ellison’s bildungsroman Invisible Man (1952).

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Cole, Zachary. "Book Review: The King James Bible Turns 400: D. G. Burke, J. F. Kutsko, & P. H. Towner (eds), The King James Version at 400: Assessing Its Genius as Bible Translation and Its Literary Influence". Expository Times 126, n. 9 (giugno 2015): 453–54. http://dx.doi.org/10.1177/0014524615579973e.

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BROWN, STEWART J. "MORAL CULTURE AND HISTORICAL PROGRESS IN THE SCOTTISH ENLIGHTENMENT". Modern Intellectual History 16, n. 3 (30 gennaio 2018): 993–1005. http://dx.doi.org/10.1017/s1479244317000646.

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We continue to be intrigued by the Scottish Enlightenment. How was it that a relatively remote country on the geographical periphery of Europe—with a harsh climate, a largely mountainous terrain, a strict Calvinist creed, a small population and a history of civil strife—emerged in the 1740s as a “hotbed of genius” and a center of the European Enlightenment? The subject, to be sure, has been well studied. There is an immense literature and it can seem that there is little new to be said. Indeed, it may be, as the eminent historian Colin Kidd has observed in this journal, that “the very concept of the ‘Scottish Enlightenment’ has become a stale historiographical commonplace.” And yet the subject continues to intrigue, continues to attract scholars from a variety of disciplines. For something extraordinary happened in eighteenth-century Scotland. Simply to list some of the names cannot fail to impress: David Hume in philosophy and historical writing, Frances Hutcheson in moral philosophy, Adam Smith in moral philosophy and economic thought, Adam Ferguson in social thought, Thomas Reid in philosophy, William Robertson in historical writing, Hugh Blair in rhetoric and literary studies, James Hutton in geology, and Joseph Black in chemistry. The achievements of the Scottish Enlightenment were immense; its world influence has been enduring. And at its heart was the study of moral philosophy and of the moral progress of humankind.

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Stoner, James R. "Response: Not So…". Review of Politics 66, n. 4 (2004): 571–73. http://dx.doi.org/10.1017/s0034670500039887.

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It was not the exquisite self-consciousness of a Henry James that I had in mind when I wondered about equality and hierarchy in Locke, but the assertive self-consciousness or—what is for Locke ultimately the same—self-interestedness of an Andrew Carnegie, as exemplified both in the acquisition and the dispersion of his fortune. After all, it was Locke's genius in chapter five of the Second Treatise to make the case for private property on different grounds than had Aristotle because he conceived of property in a different way: as the fruit, not of nature, but of human creativity, less interesting for its use in leisure than for its origin in labor. As Strauss and even Zuckert have suggested, the brilliance of Locke's argument does not eclipse its underlying contradiction, that on the one hand the initial right to acquire seems to depend on there being “enough and as good” left for others, as though man lived amidst natural plenty, while on the other hand the account of the progressive rise in value consequent to enclosure (and the post hoc justification for property rights that it implies) describes natural scarcity. Holding that “a man may deliberately contradict himself in order to indicate his thought rather than to reveal it,” Strauss takes Locke's “revolutionary” teaching about “‘dynamic’ property” to indicate his true intention:

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Conway, Joe. "A Genius for Money: Business, Art, and the Morrisons; The Vulgar Question of Money: Heiresses, Materialism, and the Novel of Manners from Jane Austen to Henry James". Nineteenth-Century Contexts 35, n. 2 (maggio 2013): 227–30. http://dx.doi.org/10.1080/08905495.2013.790148.

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