Готові списки джерел за темами / Creed, barbara

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Добірка наукової літератури з теми "Creed, barbara"

Автор: Grafiati
Опубліковано: 26 липня 2024
Оновлено: 27 липня 2024

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Статті в журналах з теми "Creed, barbara"

1

Useros Rodríguez, Silvia. "El monstruo femenino y la violencia liberadora en A girl walks home alone at night de Ana Lily Amirpour=The female monster and the liberating violence in A girl walks home alone at night (2014), by Ana Lily Amirpour." Estudios Humanísticos. Filología, no. 43 (December 20, 2021): 107–22. http://dx.doi.org/10.18002/ehf.v0i43.7054.

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El objetivo de este texto es analizar el monstruo femenino en el film A Girl Walks Home Alone at Night (Una chica vuelve a casa sola de noche, 2014), de Ana Lily Amirpour, exponiendo el giro del arquetipo de la mujer vampiro, para tratar el tema de la violencia patriarcal y, mediante una serie de referencias críticas de la teoría del cine feminista, con figuras como Barbara Creed, Pilar Pedraza y Laura Mulvey, entre otras, entender las nuevas manifestaciones de lo femenino y lo monstruoso. The aim of this paper is to analyze the female monster in Ana Lily Amirpour’s film A Girl Walks Home Alone at Night (2014), exposing the reversal of the female vampire archetype to address the violence of patriarchy, and through a series of critical references from feminist cinema theory with figures such as Barbara Creed, Pilar Pedraza, and Laura Mulvey, among others, to understand the new trends of the feminine and monstrosity.
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2

Peters, Gary. "Barbara Creed. The Monstrous-Feminine: Film, Feminism, Psychoanalysis. New York: Routledge, 1993." Canadian Journal of Film Studies 3, no. 2 (October 1994): 108–13. http://dx.doi.org/10.3138/cjfs.3.2.108.

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3

Hardister, Mia. "Femininity and the Alien Other in Under the Skin." Ex Animo 2, no. 1 (2022): 12–19. http://dx.doi.org/10.5399/uo/exanimo/2.1.2.

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In this paper, I attempt to analyze the 2014 film Under the Skin through its formal and generic elements and relate these to philosophical thought regarding objectivity and gender from theorists including Kant, de Beauvoir, and Irigaray, as well as media scholars Barbara Creed and Laura Mulvey. I argue that throughout the course of the film, by its presentation of horror, science-fiction, and film noir elements, as well as its cinematography, structure, sound, and mise-en-scène a commentary on the societal objectification of women is constructed, all stemming from its presentation of the female experience as something which is inherently alien.
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4

Banker, Bryan. "Black Egyptians and White Greeks?: Historical Speculation and Racecraft in the Video Game Assassin’s Creed: Origins." Humanities 9, no. 4 (December 15, 2020): 145. http://dx.doi.org/10.3390/h9040145.

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Recent portrayals of ancient Egypt in popular culture have renewed attention concerning the historical accuracy of how race and racism appear in representations of antiquity. Historians of the antiquity have robustly dismissed racist claims of whitewashing or blackwashing historical and cultural material in both scholarship and in popular culture. The 2017 video game Assassin’s Creed: Origins is a noteworthy site to examine this debate, as the game was designed with the assistance of historians and cultural experts, presenting players with an “historically accurate” ancient Egypt. Yet, if race is a fantasy, as Karen Fields and Barbara Fields’ “racecraft” articulates, then what historians have speculated in their study of race and racism are presentations of a proto-racecraft, borrowing from historian Benjamin Isaac. This essay argues that Assassin’s Creed: Origins racecrafts through the paradigm of historical speculation. As historians have speculated on meanings and operations of “race” and racism in ancient Egypt, Origins has made those speculations visible through its depiction of a racially diverse Ptolemaic Egypt. Yet, this racecraft is paradoxically good, as the game does so to push back against the hegemony of whiteness and whitewashing in contemporary popular culture.
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5

Chusna, Aidatul, and Shofi Mahmudah. "Female Monsters: Figuring Female Transgression in Jennifer's Body (2009) and The Witch (2013)." Jurnal Humaniora 30, no. 1 (February 24, 2018): 10. http://dx.doi.org/10.22146/jh.31499.

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This paper aimed to examine the depiction of the monstrous feminine in two horror flms, 2009’s Jennifer’s Bodyand 2015’s The Witch, by investigating how horror flms confront transgression through the construction of woman as a monstrous fgure in the story. The theory of abjection proposed by Julia Kristeva and of the monstrous feminine by Barbara Creed were used in the analysis. The main data were taken from these two flms, focusing on the characterization and narrative aspects. It was found that the depiction of the monstrous feminine in both flms was through the use of monstrous acts and images. The way in which these flms constructed monstrosity indicates female transgression of patriarchal boundaries, specifcally on the issue of gender identity and religiosity. The transgression emphasizes that there is no absolute identity, and thus boundaries are disrupted due to this fluid identity
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Chusna, Aidatul, and Shofi Mahmudah. "Female Monsters: Figuring Female Transgression in Jennifer's Body (2009) and The Witch (2013)." Jurnal Humaniora 30, no. 1 (February 24, 2018): 10. http://dx.doi.org/10.22146/jh.v30i1.31499.

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Анотація:
This paper aimed to examine the depiction of the monstrous feminine in two horror flms, 2009’s Jennifer’s Bodyand 2015’s The Witch, by investigating how horror flms confront transgression through the construction of woman as a monstrous fgure in the story. The theory of abjection proposed by Julia Kristeva and of the monstrous feminine by Barbara Creed were used in the analysis. The main data were taken from these two flms, focusing on the characterization and narrative aspects. It was found that the depiction of the monstrous feminine in both flms was through the use of monstrous acts and images. The way in which these flms constructed monstrosity indicates female transgression of patriarchal boundaries, specifcally on the issue of gender identity and religiosity. The transgression emphasizes that there is no absolute identity, and thus boundaries are disrupted due to this fluid identity
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7

Rugiero Bader, Agustín. "Toward the Threshold." Comparative Cinema 8, no. 15 (December 14, 2020): 87–103. http://dx.doi.org/10.31009/10.31009/cc.2020.v8.i15.06.

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This article presents an analysis of how the male hegemony in the “Global North” has conceptualized the witch as an image of female alterity. My approach is informed by studies by Julia Kristeva, Teresa de Lauretis, Hélène Cixous, and Barbara Creed. Drawing on these works, I explore how the witch actively desires and uses the power of her desire to draw the male subject toward the “place where meaning collapses” (Agamben 2007). The study is supported by a prior analysis of the concepts of witchcraft, perversion, and abjection. After establishing the conceptual framework, the study sample is divided into three filmic categories: the witch in society; the witch in the socialization process; and the witch as perverse resistance. My argument is that the witch, as a female figure inherently associated with sexuality, crosses the thresholds of eroticism and perversion, and possesses the power to challenge binary structures from within.
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8

Canepa, Laura. "Senhor Babadook, Vincent e o horror materno: intertextos." Rumores 9, no. 17 (August 6, 2015): 117. http://dx.doi.org/10.11606/issn.1982-677x.rum.2015.90087.

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<p>Este trabalho se propõe a analisar a relação de intertextualidade entre os filmes <em>Senhor Babadook</em>, de Jennifer Kent<em> </em>(<em>The Babadook</em>, Austrália, 2014) e <em>Vincent</em>, de Tim Burton (EUA, 1982). Tal relação será examinada a partir da ideia de uma reconstrução da narrativa do filme de Burton pelo de Kent por um procedimento de inversão do ponto de vista. Tal procedimento permite a <em>Senhor Babadook</em> explorar um tema caro às histórias de horror que está apenas sugerido em <em>Vincent</em>: o horror materno (“<em>maternal horror</em>”, ARNOLD, 2013), conceito inspirado nas ideias de Julia Kristeva (1982) e Barbara Creed (1993).</p>
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9

Neely, Sol. "Ruined Abjection and Allegory in Deadgirl." Screen Bodies 1, no. 2 (December 1, 2016): 4–24. http://dx.doi.org/10.3167/screen.2016.010202.

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Deadgirl (2008) is a horror film that gained notoriety on the film festival circuit for its disturbing premise: when a group of teenage social outcasts discover a naked female zombie strapped to a gurney in the basement of an abandoned asylum, they decide “to keep her” as a sex slave. Accordingly, two sites of monstrosity are staged—one with the monstrous-feminine and the other with monstrous masculinities. Insofar as the film explicitly exploits images of abjection to engender its perverse pleasures, it would seem to invite “abject criticism” in the tradition of Barbara Creed, Carol Clover, and colleagues. However, in light of recent critical appraisals about the limitations of “abjection criticism,” this article reads Deadgirl as a cultural artifact that demands we reassess how abjection is critically referenced, arguing that—instead of reading abjection in terms of tropes and themes—we should read it in diachronic, allegorical ways, which do not reify into cultural representation.
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10

Durber, Dean. "Seemingly subject: a review ofmedia matrix: sexing the new realityby Barbara Creed Crows Nests, NSW: Allen and Unwin, 2003." Sexualities, Evolution & Gender 6, no. 1 (April 2004): 59–63. http://dx.doi.org/10.1080/14616660410001732228.

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Дисертації з теми "Creed, barbara"

1

Wearne, Olivia, and oliviawearne@hotmail com. "Crater Lake: A Study of the Monster Within." RMIT University. Creative Media, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20081209.160136.

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2

Rydqvist, Ryan Ebba. "Kvinnliga monster och abjekt femininitet : En semiotisk och psykoanalytisk studie av femininitet, feminism och monsterkroppen i tv-serien Penny Dreadful." Thesis, Stockholms universitet, JMK, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-131165.

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Studien undersöker hur kvinnliga karaktärer representeras i relation till skräcktematiken i tv-serien Penny Dreadful (2014-). Syftet har varit att studera huruvida det som är typiska kännetecken för skräck kan kopplas till kvinnlighet, femininitet och feminism (det senare då man kan uppfatta ett genuskritiskt samtal i serien). Med hjälp av psykoanalytiska teorier kring abjektion visar analysen hur det som är skrämmande med kvinnor, är skrämmande på andra sätt än vad som är skrämmande med män. Det som är abjekt med kvinnan definieras ofta utifrån hennes sexualitet och biologiska egenskaper, och skapar därmed en feminin monstrositet och således är helt olik den manliga. Detta har till stor del växt fram genom historiska myter, religioner och konst, som har bidragit till könsspecifika monster utifrån stereotyp femininitet, så som häxor, sirener eller Medusa. Genom att utforska tv-seriens karaktärer med hjälp av semiotiska och psykoanalytiska verktyg avslöjas möjliga tolkningar som visar hur nämnda feminina monster tycks grunda sig i manlig rädsla och kvinnan som hot. Kastrationskomplexet som bidragande faktor och den manliga blicken tycks därför kväsa uttryck för kvinnlig frigörelse i serien, genom att sexualisera, plåga och göra kvinnan abjekt och monstruös i direkt genmäle till dessa. Serien tycks därför trots sin genuskritiska diskurs kontrolleras av en manlig blick och ett skoptofiliskt seende, något som möjligtvis bidrar till att kvinnlighet och femininitet kodas som abjekt, och i värsta fall stigmatiserar den feministiska kvinnan.

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3

Tyler, Edward P. "Tectonic geomorphology of quaternary river terraces at Santa Cruz Creek, Santa Maria Basin, Santa Barbara County, California." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527759.

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Geomorphologic methods document poorly exposed tectonically active structures in the first study to determine quantified ages for Quaternary Age fluvial terraces at Santa Cruz Creek. GPS surveys of three flights of terrace surfaces and a stream gradient profile reveal deformation at the Baseline/Los Alamos fault zone and Little Pine fault. Optically Stimulated Luminescence (OSL) dating was employed to determine ages for the terraces. The formation age of Terrace 1 is 19.3 ka with an incision rate of 1.63 to 1.82 mm/yr, Terrace 2 was dated at 32.9 ka with incision rate of2.02 to 1.82 mm/yr. Based on incision rates an estimated age of 44.0-47.0 ka was calculated for Terrace 3. Offsets in T-2 and T-3 were used to calculate a short term faulting rates of .91 mm/yr and a long term faulting rate of 0.67 to 0. 73 mm/yr for the Baseline/Los Alamos fault.

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4

Yen, Chung-Shung, and 顏俊雄. "The preliminary study of population ecology of Zacco barbata in Ha-Pen Creek." Thesis, 1993. http://ndltd.ncl.edu.tw/handle/82529216399324562292.

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碩士
國立師範大學
生物學研究所
81
The research was conducted in Ha-Pen Nature Reserve from Feburary, 1992 to April, 1993. The purpose of this study is to investigate the population structure, sexual differences, habitat use, and reproduction biology of Zacco barbata, an endemic freshwater fish of Taiwan. After more than one year survey, the result showed that the sex ratio of Zacco barbata was significatly different from 1: 1. The sexual dimorphism in larger Zacco barbata could be distinguished by their secondary sexual characters, which include the pearl organs locating on heads and anal fins, and the breeding color on their lateral sides. Generally speaking, males are larger than females in average total length. However, the smallest sexually mature males and females are 75 mm and 79 mm, respectively. From GSI (gonadosomatic index) data, development of gonads and distribution frequencies of egg diameter, we found out that the breeding season of Zacco barbata in Ha-Pen Creek was from April to October in 1992, and the peak of breeding season from April to July. Based on the development of eggs in ovary, we could tell that females of Z. Barbata have multiple spawning. Female with longer total length usually had heavier ovary is due to containing more eggs instead of bigger eggs. We suspected that the relative energy input to the breeding effort in smaller females were about the same as that of larger ones. The suitable habitat for Zacco barbata was stream with low velocity, where had good vegetation coverage on both sides for hideouts, and the sediment is minimal. The population density varied with seasons, higher in summer than in winter. There were also significant difference in population size among the four study stations.
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Книги з теми "Creed, barbara"

1

Chaudhuri, Shohini. Feminist film theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. London: Routledge, 2006.

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2

Hecht, Daniel. Bones of the Barbary Coast: A Cree Black novel. New York: Bloomsbury Pub., 2006.

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3

Hecht, Daniel. Bones of the Barbary Coast: A Cree Black novel. New York: Bloomsbury Pub., 2006.

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4

McFadden, Michael C. Measurement of streamflow gains and losses on Mission Creek at Santa Barbara, California: July and September 1987. Sacramento, Calif: U.S. Dept. of the Interior, U.S. Geological Survey, 1991.

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5

United States. Office of the Assistant Secretary of the Army (Civil Works). Mission Creek, Santa Barbara, California: Communication from the Assistant Secretary of the Army (Civil Works) transmitting a report from the Chief of Engineers, Department of the Army, on Lower Mission Creek, Santa Barbara, California, together with other pertinent reports and comments, pursuant to Pub. L. 89-789, sec. 209 (80 Stat. 1423). Washington: U.S. G.P.O., 1988.

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6

Peter, Martin. Development and calibration of a two-dimensional digital model for the analysis of the ground-water flow system in the San Antonio Creek Valley, Santa Barbara County, California. Sacramento, Calif: U.S. Dept. of the Interior, Geological Survey, 1985.

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7

United States. Office of the Assistant Secretary of the Army (Civil Works). Flood protection along Carneros Creek, California: Communication from the Assistant Secretary of the Army (Civil Works) transmitting recommendations for the modification to the authorized flood damage reduction project for Santa Barbara County coastal streams, California, pursuant to 42 U.S.C. 1962d-5(a). Washington: U.S. G.P.O., 1992.

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8

Chaudhuri, Shohini. Feminist Film Theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. Taylor & Francis Group, 2006.

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9

Chaudhuri, Shohini. Feminist Film Theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. Taylor & Francis Group, 2006.

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10

Chaudhuri, Shohini. Feminist Film Theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. Taylor & Francis Group, 2006.

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Частини книг з теми "Creed, barbara"

1

"Barbara Creed, Horror and the Monstrous-Feminine." In Horror, The Film Reader, 75–84. Routledge, 2002. http://dx.doi.org/10.4324/9780203204849-9.

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2

Henlin-Strømme, Sabine. "White on White: Twenty-First-Century Norwegian Horror Films Negotiate Masculinist Arctic Imaginaries." In Films on Ice. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748694174.003.0014.

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Identifying how the appropriation of Hollywood horror films engage with the notion of an Arctic sublime, this chapter examines how contemporary Norwegian horror films are mobilised partly to subvert the gender and ethnicity hierarchies predominant in the Heroic Polar Exploration narratives of Norway, established by Nansen, Amundsen, and others. Foregrounding feminist critiques of the horror genre by Carol J. Clover and Barbara Creed and identifying the rise in Norwegian popular genre films such as ‘skrekkfilm’ (horror and gore), Henlin-Strømme focuses the discussion on films such as Roar Uthaug Cold Prey (2006) and Tommy Wirkola Dead Snow (2009). The chapter addresses how dominant historical narratives of the Arctic can begin to be renegotiated through forms of popular global culture.
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3

Posnock, Ross. "Mourning and Melancholy." In The New Territory. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806796.003.0013.

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Ross Posnock’s “Mourning and Melancholy: Explaining the Ellison Animus” investigates the “animus” or sense of resentment and criticism that has dogged Ellison from Invisible Man’s first appearance through the last decade. He argues that the animus has become a generational sense of grievance, mixed with melancholy, reflecting a disappointed, idealized sense of Ellison. Arnold Rampersad’s recent biography is dominated by a simultaneous idealization and frustration that is Oedipal in nature. This sense of promise unfulfilled also dominates Barbara Foley’s assessment, particularly in her heroization of the figure of LeRoy, the proletarian revolutionary manqué who appeared in early drafts of Invisible Man. Like Obama, Ellison becomes the locus of idealism mixed with hostility. Posnock argues for a realization of their flawed humanity and refusal of easy affirmation and ideal reflection. Both men insist upon a similar self-reliance of thought on the part of their audience, which rejects political creed and racial essentialism.
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Tierney, Dolores. "Guillermo Del Toro’s Transnational Political Horror: Cronos (1993), El Espinazo Del Diablo (The Devil’S Backbone 2001) and El Laberinto Del Fauno (Pan’S Labyrinth 2006)." In New Transnationalisms in Contemporary Latin American Cinemas. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748645732.003.0005.

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Chapter 3 looks at Guillermo del Toro’s horror trilogy Cronos, El espinazo del diablo and El laberinto del fauno. Using the frameworks of feminism, Marx and Freud it explores how horror and horrific tropes function in these films on a political level to address particular issues relevant to Mexico (the impact of NAFTA) and Spain (the recovery of historical memory of Spanish Civil War repression). It traces how these three films respond to and reproduce a shared Hispanic imaginary, history and politics by adapting and adopting Hollywood horror conventions as these have been read in political terms by Robin Wood (1985), Tanya Modleski (1999) and Barbara Creed (1999). Ultimately, it suggests that Cronos, El espinazo del diablo and El laberinto del fauno (Crimson Peak is analysed in the Epilogue) speak not only to local/national issues but also to transatlantic political concerns enabled by the progressive discourse at the heart of horror cinema.
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"Introduction ~ GERALD W. CREED AND BARBARA CHING Recognizing Rusticity Identity and the Power of Place." In Knowing Your Place, 8–45. Routledge, 2013. http://dx.doi.org/10.4324/9780203379462-6.

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Paszkiewicz, Katarzyna. "Repeat to Remake: Diablo Cody and Karyn Kusama’s Jennifer’s Body." In Genre, Authorship and Contemporary Women Filmmakers, 60–99. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474425261.003.0003.

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If, as Jane Gaines (2012) suggests, instead of ‘transgressing’ the formal dictates of the industrial genre (that is, instead of ‘going against genre’), some women filmmakers ‘go with genre’, this might be particularly so in the case of horror cinema. The analysis of the much-maligned Jennifer’s Body (2009), written by Diablo Cody and directed by Karyn Kusama, demonstrates precisely this point. The chapter begins by discussing the marketing of Jennifer’s Body, in order to show how those in charge of film distribution and publicity used the director’s and writer’s gender as a promotional tool, and how the filmmakers themselves might have determined certain feminist and postfeminist readings of their film. These readings are contextualised within Diablo Cody’s broader self-promotional activities and her “commercial auteurism” (Corrigan 1991) and raise several questions about what is at stake when women practitioners make horror films and the implications should a filmmaker self-identify as a feminist filmmaker. The chapter then offers a close examination of Jennifer’s Body by rethinking the theories of Barbara Creed (1993) and Carol J. Clover (1992) and by inscribing the film within the wider context of teen movies and postfeminist media culture, making room for reflection on female spectatorial pleasures. It concludes that rather than undoing the horror genre, Jennifer’s Body explores its productive potential, participating in its continuous re-inscription of the relationship between women and violence.
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Scally, Robert James. "The Crossing: “Just Over a River”." In The End Of Hidden Ireland, 217–29. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195055825.003.0011.

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Abstract Out of Liverpool after three days of fog and rain, “Land ho!” was cried aboard the Highlander. Melville described the emigrants as grieved and crestfallen when they were informed that the land to the north was their former home, now in sight again after more than a week of journeying by land and sea. Rumors spread in the steerage that the ship was bound for the East Indies, whatever that may have conveyed to the emigrants. A mischievous seaman told the emigrants they were to be taken to “Barbary” and sold as slaves. There was a fiddler and a wandering, orphan Italian boy with a melodeon aboard this ship, and some merriment on deck in the early days of the voyage. But many remained in the steerage the whole of the way, groaning with the “irresistible wrestler” of seasickness from the first hour.
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Dorrien, Gary. "Frames of Identity and World House Struggle." In A Darkly Radiant Vision, 418–500. Yale University Press, 2023. http://dx.doi.org/10.12987/yale/9780300264524.003.0007.

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Obama proclaimed in his first inaugural address that the old arguments about anti-racist politics were stale and no longer applied. The ground had shifted with his ascension; those who still talked about congenital anti-blackness needed to climb into the new century. The ground shifted again when Trayvon Martin’s murderer went free and Black queer organizer Alicia Garza said it surprised her how little Black lives matter. These three words radiated brilliantly as a judgment on America’s entire history of anti-Black racism, including the so-called Obama era. The half-truth in Obama’s inaugural address was powerful enough to carry him to the White House, but did not rectify centuries of racist oppression and exclusion, ongoing legacies of police violence, catastrophic Black unemployment rates, and incarceration policies that created a New Jim Crow. Chapter 7 is a reflection on moral leadership in the prophetic Black church, focusing on Walter Fluker, Lawrence Edward Carter, Eugene Rivers, Traci Blackmon, William Barber, and Raphael Warnock, and building to a concluding reflection on Black religious philosophy. Historically, all Black churches shared a simple creed of non-racism, and Black leaders in the social gospel stream called on Black churches to live up to the liberationist aspects of Black faith. This twofold frame still describes the broad reality. Three trajectories are in play for proponents of Black social justice theologies. The first is to settle for a home in the academy. The second is to make serious headway in the Pentecostal and neo-Pentecostal churches of the Sanctified tradition. The third is to renew the social gospel and liberationist churches that combine personal evangelical piety and social justice politics.
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9

Muguerza, Javier. "Verdad, consenso y tolerancia : la incomodidad de "el lugar del otro"." In Tolerancia: sobre el fanatismo, la libertad y la comunicación entre culturas, 51–61. Pontificia Universidad Católica del Perú, 2023. http://dx.doi.org/10.18800/9786123170783.004.

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Un colega de mi país, y sin embargo amigo, ha trazado el siguiente «mapa conceptual» del tema de la tolerancia, en el que reconocidamente es un experto: «La tolerancia está de moda. La intolerancia, ciertamente, también. Así como discutir acaloradamente sobre los límites de lo tolerable o de lo intolerable [ ... ] Los debates se suceden y, con ellos, nuestras perplejidades aumentan. Hay quien opina que es progresista ser tolerante con las diferencias culturales y quien sostiene (arguyendo idénticas razones) que el multiculturalismo es reaccionario. Hay quien cree que la tolerancia con los intolerantes es un deber moral y quien esgrime que semejante tolerancia no es sino barbarie. Hay quien afirma que la tolerancia prudencial es insuficiente cuando se aplica a inmigrantes fundamentalistas y excesiva cuando se habla de la extrema derecha, o viceversa. O quien reivindica que la tolerancia implica dejar hacer, o indiferencia, o respeto a lo diferente, o neutralidad frente a opciones de vida igualmente válidas (o inválidas), o[ ... ] Tenemos, como puede verse, de todo menos claridad. O quizás no. La confusión, al menos, es clarísima»1. Por lo que a mí respecta, no quisiera contribuir más de la cuenta a aumentar tal confusión. Y, lejos de tomar la invitación a hablar del «estado de la cuestión» como una autorización para extenderme en la prolijidad de sus detalles, me limitaré en lo que sigue a echar mano con exclusividad de un buen ejemplo que nos ayude a comprenderlo. Consiga o no consiga mi propósito en el tiempo de que dispongo para ello, el ejemplo elegido me parece lo suficientemente bueno como para que merezca la pena que centremos en él la discusión.
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10

Ehrenfeld, David. "A Connoisseur of Nature." In Swimming Lessons. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195148527.003.0029.

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My old college housemate Claude had dropped by for one of his stimulating visits, an infrequent happening even though his apartment on Manhattan’s Upper West Side was only an hour away by car. In college, we had been utter opposites in interests and temperaments—Claude’s direction was art criticism, which he celebrated with an élan that gained him a wide circle of friends. Mine was biology, and shyness was my distinguishing social feature. A shared liking for history and the attraction of very different personalities formed a narrow bridge between us, enough to have kept us in occasional contact over the years. We had been discussing European politics and the question of de-centralism over a light lunch on the patio, and then, in one of those curious shifts that conversations take, we had abruptly changed the subject. He was holding forth in his usual compelling fashion. “The trouble with nature writing,” Claude said, “is that it’s so artistically accepting, so uncritical. Lopez, Abbey, and their ilk—why civilization seems to have passed them by without leaving a mark. Culture implies the ability to discriminate, to judge—not sometimes, all of the time. Why should nature be exempt from criticism?” He readjusted his long, elegantly trousered legs carefully on the lounge chair, glared briefly across the patio at a song sparrow sitting on a dead branch of my Cortland apple tree, and continued. “I fail to comprehend why you nature-lovers don’t hold nature to the same kind of ex-acting standard that a cultured person applies to a bottle of Margaux or a performance of Rosenkavalier. Undiscriminating adulation is barbaric.”Just then a starling arrived at the bird feeder, displacing a blue jay. “Do you see that?” cried Claude. “That is exactly what I mean.” “Too aggressive?” “No, no, that’s not it at all. Look at the preposterous thing. Surely you can see what I’m referring to?” “All I see is a starling. It seems healthy.” “It seems healthy!” Claude stared at me in disbelief. “You’re not understanding me. Try to look at it as if it were a painting, a painting you did in beginner’s art class.
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Тези доповідей конференцій з теми "Creed, barbara"

1

Walton, R., A. Raman, J. Turpin, and V. Crisostomo. "Channel Improvement Studies for Mission Creek, Santa Barbara." In 29th Annual Water Resources Planning and Management Conference. Reston, VA: American Society of Civil Engineers, 1999. http://dx.doi.org/10.1061/40430(1999)145.

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2

Cromwell, Geoffrey, Claudia C. Faunt, Linda R. Woolfenden, John A. Engott, Joshua D. Larsen, and Donald Sweetkind. "COMPLEX GEOLOGY AND WATER-USE EFFECTS ON THE BARKA SLOUGH IN SAN ANTONIO CREEK VALLEY, SANTA BARBARA COUNTY, CALIFORNIA,." In GSA Connects 2021 in Portland, Oregon. Geological Society of America, 2021. http://dx.doi.org/10.1130/abs/2021am-370766.

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3

Thoman, Robert W., and J. J. Brown. "Construction of a Low-Flow Channel in Barber Creek: Case Study in the Powder River Basin, Wyoming." In World Environmental and Water Resources Congress 2009. Reston, VA: American Society of Civil Engineers, 2009. http://dx.doi.org/10.1061/41036(342)568.

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Звіти організацій з теми "Creed, barbara"

1

Measurement of streamflow gains and losses on Mission Creek at Santa Barbara, California; July and September 1987. US Geological Survey, 1991. http://dx.doi.org/10.3133/wri914002.

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2

Development and calibration of a two-dimensional digital model for the analysis of the ground-water flow system in the San Antonio Creek Valley, Santa Barbara County, California. US Geological Survey, 1985. http://dx.doi.org/10.3133/wri844340.

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