A imaginação como metafísica:uma leitura do poema o percurso de um particular de Wllace Stevens

Wallace Stevens produziu uma poesia considerada difícil, distante da dicção fragment��ria do primeiro Eliot tanto quanto da imagística de William Carlos Williams, apesar de compartilhar com o último o interesse pelas coisas como elas s��o. Sua dicção poética se caracterizou muito mais pelo interesse quase filos��fico na relação entre imaginação e realidade, interesse que o levou a considerar a primeira, a “rainha das faculdades��� segundo Baudelaire, como uma forma de metafísica. Expurgando dela os resquícios românticos subjetivizantes e dotando-a de capacidade de abstração e generalização, Stevens lhe dá envergadura de ontologia, na medida em que ela possibilita ao poeta tanto a apreens��o das particularidades do mundo real quanto o desenvolvimento do pensamento lógico em direção a uma fenomenologia da percepção. Esta concepção e prática poética se acentuou ao longo da trajet��ria poética de Stevens e embora a crítica note algum excesso ret��rico nos poemas de maturidade, a sua capacidade inicial de s��ntese — not��vel em Harmonium, seu livro de estréia (1923) — é retomada nos poemas da fase final de sua produção, como mostaremos na análise do poema “O percurso de um particular”, publicado após a morte do poeta, em 1955.

Duas poéticas da leitura: radição e invenção de precursores nos projetos literários de Jorge Luis Borges e Haroldo de Campos

Conselho Nacional de Desenvolvimento Cient��fico e Tecnológico (CNPq)

Romances rebeldes - a tradição de rebeldia na literatura norte-americana: de Moby Dick a On the Road

Pós-graduação em Estudos Literários - FCLAR

Aldo Rossi, autobiografia scientifica: scrittura come progetto. Indagine critica tra scrittura e progetto di architettura

«In altri termini mi sfuggiva e ancora oggi mi sfugge gran parte del significato dell’evoluzione del tempo; come se il tempo fosse una materia che osservo dall’esterno. Questa mancanza di evoluzione è fonte di alcune mie sventure ma anche mi appartiene con gioia.» Aldo Rossi, Autobiografia scientifica. The temporal dimension underpinning the draft of Autobiografia scientifica by Aldo Rossi may be referred to what Lucien Lévy-Bruhl, the well-known French anthropologist, defines as “primitive mentality” and “prelogical” conscience : the book of life has lost its page numbers, even punctuation. For Lévy-Bruhl, but certainly for Rossi, life or its summing up becomes a continuous account of ellipses, gaps, repetitions that may be read from left to right or viceversa, from head to foot or viceversa without distinction. Rossi’s autobiographical writing seems to accept and support the confusion with which memories have been collected, recording them after the order memory gives them in the mental distillation or simply according to the chronological order in which they have happened. For Rossi, the confusion reflects the melting of memory elements into a composite image which is the result of a fusion. He is aware that the same sap pervades all memories he is going to put in order: each of them has got a common denominator. Differences have diminished, almost faded; the quick glance is prevalent over the distinction of each episode. Rossi’s writing is beyond the categories dependent on time: past and present, before and now. For Rossi, the only repetition – the repetition the text will make possible for an indefinite number of times – gives peculiarity to the event. As Gilles Deleuze knows, “things��� may only last as “singleness”: more frequent the repetition is, more singular is the memory phenomenon that recurs, because only what is singular magnifies itself and happens endlessly forever. Rossi understands that “to raise the first time to nth forever”, repetition becomes glorification . It may be an autobiography that, celebrating the originality, enhances the memory event in the repetition; in fact it greatly differs from the biographical reproduction, in which each repetition is but a weaker echo, a duller copy, provided with a smaller an smaller power in comparison with the original. Paradoxically, for Deleuze the repetition asserts the originality and singularity of what is repeated. Rossi seems to share the thought expressed by Kierkegaard in the essay Repetition: «The hope is a graceful maiden slipping through your fingers; the memory of an elderly woman, indeed pretty, but never satisfactory if necessary; the repetition is a loved friend you are never tired of, as it is only the new to make you bored. The old never bores you and its presence makes you happy [...] life is but a repetition [...] here is the beauty of life» . Rossi knows well that repetition hints at the lasting stability of cosmic time. Kierkegaard goes on: «The world exists, and it exists as a repetition» . Rossi devotes himself, on purpose and in all conscience, to collect, to inventory and «to review life», his own life, according to a recovery not from the past but of the past: a search work, the «recherche du temps perdu», as Proust entitled his masterpiece on memory. If you want the past time to be not wasted, you must give it presence. «Memoria e specifico come caratteristiche per riconoscere se stesso e ciò che è estraneo mi sembravano le più chiare condizioni e spiegazioni della realt��. Non esiste uno specifico senza memoria, e una memoria che non provenga da un momento specifico; e solo questa unione permette la conoscenza della propria individualit�� e del contrario (self e non-self)» . Rossi wants to understand himself, his own character; it is really his own character that requires to be understood, to increase its own introspective ability and intelligence. «Può sembrare strano che Planck e Dante associno la loro ricerca scientifica e autobiografica con la morte; una morte che è in qualche modo continuazione di energia. In realt��, in ogni artista o tecnico, il principio della continuazione dell’energia si mescola con la ricerca della felicit�� e della morte» . The eschatological incipit of Rossi’s autobiography refers to Freud’s thought in the exact circularity of Dante’s framework and in as much exact circularity of the statement of the principle of the conservation of energy: in fact it was Freud to connect repetition to death. For Freud, the desire of repetition is an instinct rooted in biology. The primary aim of such an instinct would be to restore a previous condition, so that the repeated history represents a part of the past (even if concealed) and, relieving the removal, reduces anguish and tension. So, Freud ask himself, what is the most remote state to which the instinct, through the repetition, wants to go back? It is a pre-vital condition, inorganic of the pure entropy, a not-to-be condition in which doesn’t exist any tension; in other words, Death. Rossi, with the theme of death, introduces the theme of circularity which further on refers to the sense of continuity in transformation or, in the opposite way, the transformation in continuity. «[...] la descrizione e il rilievo delle forme antiche permettevano una continuit�� altrimenti irripetibile, permettevano anche una trasformazione, una volta che la vita fosse fermata in forme precise» . Rossi’s attitude seems to hint at the reflection on time and – in a broad sense – at the thought on life and things expressed by T.S. Eliot in Four Quartets: «Time present and time past / Are both perhaps present in time future, / And time future is contained in time past. / I all time is eternally present / All time is unredeemable. / What might have been is an abstraction / Remaining perpetual possibility / Only in a word of speculation. / What might have been and what has been / Point to one end, which is always present. [...]» . Aldo Rossi’s autobiographical story coincides with the description of “things��� and the description of himself through the things in the exact parallel with craft or art. He seems to get all things made by man to coincide with the personal or artistic story, with the consequent immediate necessity of formulating a new interpretation: the flow of things has never met a total stop; all that exists nowadays is but a repetition or a variant of something existing some time ago and so on, without any interruption until the early dawnings of human life. Nevertheless, Rossi must operate specific subdivisions inside the continuous connection in time – of his time – even if limited by a present beginning and end of his own existence. This artist, as an “historian” of himself and his own life – as an auto-biographer – enjoys the privilege to be able to decide if and how to operate the cutting in a certain point rather than in another one, without being compelled to justify his choice. In this sense, his story is a matter very ductile and flexible: a good story-teller can choose any moment to start a certain sequence of events. Yet, Rossi is aware that, beyond the mere narration, there is the problem to identify in history - his own personal story – those flakings where a clean cut enables the separation of events of different nature. In order to do it, he has to make not only an inventory of his own “things���, but also to appeal to authority of the Divina Commedia started by Dante when he was 30. «A trent���anni si deve compiere o iniziare qualcosa di definitivo e fare i conti con la propria formazione» . For Rossi, the poet performs his authority not only in the text, but also in his will of setting out on a mystical journey and handing it down through an exact descriptive will. Rossi turns not only to the authority of poetry, but also evokes the authority of science with Max Plank and his Scientific Autobiography, published, in Italian translation, by Einaudi, 1956. Concerning Planck, Rossi resumes an element seemingly secondary in hit account where the German physicist «[...] risale alle scoperte della fisica moderna ritrovando l’impressione che gli fece l’enunciazione del principio di conservazione dell’energia; [...]» . It is again the act of describing that links Rossi to Planck, it is the description of a circularity, the one of conservation of energy, which endorses Rossi’s autobiographical speech looking for both happiness and death. Rossi seems to agree perfectly to the thought of Planck at the opening of his own autobiography: «The decision to devote myself to science was a direct consequence of a discovery which was never ceased to arouse my enthusiasm since my early youth: the laws of human thought coincide with the ones governing the sequences of the impressions we receive from the world surrounding us, so that the mere logic can enable us to penetrate into the latter one’s mechanism. It is essential that the outer world is something independent of man, something absolute. The search of the laws dealing with this absolute seems to me the highest scientific aim in life» . For Rossi the survey of his own life represents a way to change the events into experiences, to concentrate the emotion and group them in meaningful plots: «It seems, as one becomes older. / That the past has another pattern, and ceases to be a mere sequence [...]» Eliot wrote in Four Quartet, which are a meditation on time, old age and memory . And he goes on: «We had the experience but missed the meaning, / And approach to the meaning restores the experience / In a different form, beyond any meaning [...]» . Rossi restores in his autobiography – but not only in it – the most ancient sense of memory, aware that for at least 15 centuries the Latin word memoria was used to show the activity of bringing back images to mind: the psychology of memory, which starts with Aristotele (De Anima), used to consider such a faculty totally essential to mind. Keith Basso writes: «The thought materializes in the form of “images���» . Rossi knows well – as Aristotele said – that if you do not have a collection of mental images to remember – imagination – there is no thought at all. According to this psychological tradition, what today we conventionally call “memory” is but a way of imagining created by time. Rossi, entering consciously this stream of thought, passing through the Renaissance ars memoriae to reach us gives a great importance to the word and assumes it as a real place, much more than a recollection, even more than a production and an emotional elaboration of images.

Consensus standards for acquisition, measurement, and reporting of intravascular optical coherence tomography studies: a report from the International Working Group for Intravascular Optical Coherence Tomography Standardization and Validation

The purpose of this document is to make the output of the International Working Group for Intravascular Optical Coherence Tomography (IWG-IVOCT) Standardization and Validation available to medical and scientific communities, through a peer-reviewed publication, in the interest of improving the diagnosis and treatment of patients with atherosclerosis, including coronary artery disease.

Psychological Real Estate: Fractured Female Identity in the Victorian Novel

"Psychological Real Estate: Fractured Female Identity in the Victorian Novel" examines the use of domestic space in three Victorian novels, Charlotte Bronte's Jane Eyre (1847), Mary Elizabeth Braddon's Lady Audley's Secret (1862), and George Eliot's Middlemarch (1871-2). Because Victorian gender identity was conceived of in spatial terms, this thesis explores how the three female authors use complicated domestic environments to engage the problem of conventional Victorian femininity. In the Victorian mindset, a woman's place is confined to the home, or private sphere; however, even the private sphere is intruded upon by public spaces. Expected to conform to the Victorian formulation of femininity in public spaces within the home, women had only their private spaces to cultivate the unique, individualistic aspects of their selves. This thesis explores the ways in which the female protagonists negotiate these gender encoded spaces to argue that because Victorian women had to maintain separate and often disparate identities within domestic space, their identities became problematically fractured. Additionally, in each of these texts, the authors use the failure or loss of the estate, the structure which rigidly upholds the gendered binaries, to expose the harm such fracturing identity formulation caused for Victorian society as a whole. This thesis concludes by examining the final residences of the female characters and arguing that the authors use these final private spaces to assert more feminist re-envisionings of their society's construction of femininity.

Transport of anti-IL-6 antigen binding fragments into cartilage and the effects of injury

The efficacy of biological therapeutics against cartilage degradation in osteoarthritis is restricted by the limited transport of macromolecules through the dense, avascular extracellular matrix. The availability of biologics to cell surface and matrix targets is limited by steric hindrance of the matrix, and the microstructure of matrix itself can be dramatically altered by joint injury and the subsequent inflammatory response. We studied the transport into cartilage of a 48 kDa anti-IL-6 antigen binding fragment (Fab) using an in vitro model of joint injury to quantify the transport of Fab fragments into normal and mechanically injured cartilage. The anti-IL-6 Fab was able to diffuse throughout the depth of the tissue, suggesting that Fab fragments can have the desired property of achieving local delivery to targets within cartilage, unlike full-sized antibodies which are too large to penetrate beyond the cartilage surface. Uptake of the anti-IL-6 Fab was significantly increased following mechanical injury, and an additional increase in uptake was observed in response to combined treatment with TNFα and mechanical injury, a model used to mimic the inflammatory response following joint injury. These results suggest that joint trauma leading to cartilage degradation can further alter the transport of such therapeutics and similar-sized macromolecules.

Characterization and mechanism of action of suppressor factors derived from human T cell hybridomas

This laboratory developed human T-cell hybridomas which constitutively secrete suppressor factors (SF) capable of inhibiting immune responses (Hybridoma 6:589 (1987). The mechanisms by which human T-cell hybridoma-derived SFs (designated 160 and 169) and Jurkat leukemic T-cell line derived SF inhibit the proliferative response to mitogen by human PBMC were investigated. The Jurkat SF had a pI of 5.2 whereas the 160 and 169 SF had pI of 5.7 and 4.7 (two peaks) and 4.7, respectively. The SF was not transforming growth factor-beta based upon neutralization and iummunoprecipitation experiments with anti-TGF-beta polyclonal antibody. Il-2 production by human PBMC cultured with Con A or OKT3 mAb in the presence of SF was found to be inhibited by greater than 80%. The proliferative responses of SF treated PBMC could not be restored by addition of exogeneous human IL-2. Inhibition of the proliferative responses could not be reversed by addition of exogenous rIL-1, rIL-2 or rIL-4 alone or in paired combinations. The expression of IL-2 receptors (TAC Ag) on Con A activated cultures time points was not affected by treatment with any SFs. Both the 160 and 169 hybridoma-derived SFs were found to arrest PHA induced cell cycle progression in G$\sb0$/G$\sb1$ phase, whereas SF from the Jurkat T-cell line arrested progression in the S phase. Pretreatment of PBMC with SF prior to the addition of mitogen, followed by washing, did not alter the proliferative response of these PBMC nor their cell cycle progression suggesting that cell activation is necessary for these SF to inhibit proliferative responses. Northern blot analysis of total mRNA from mitogen stimulated PBMC in the presence of SF, revealed a time dependent accumulation of an IL-2 specific mRNA of increased size (2.8 kB) in addition to the expected 1.0 kB mature IL-2 message. Interferon-gamma mRNA was of the appropriate size but its half-life was prolonged in SF treated cultures. IL-2 receptor and IL-1 beta mRNA expression was not altered in these cells. ^

Die Juden und ihre Gegner : ein Essay ; (aus d. "Impressions of Theophrastus Such" benannten Sammlung von Essays)

von George Eliot. Autor. Übers. von Emil Lehmann

"A Missionary Zeal": Besatzung, Entnazifizierung und Umerziehung als Aktionsfeld und im Geschichtsbewusstsein britischer Literaten

Die Arbeit untersucht erstmals die Mitwirkung britischer Literaten an Besatzung, Entnazifizierung und Umerziehung im Deutschland der unmittelbaren Nachkriegszeit und die bis in die Gegenwart andauernde engagierte literarische Auseinandersetzung mit den in der Erfahrung mit Nazi- und Nachkriegsdeutschland bewusst gewordenen Problemstellungen. Anhand einer Fülle von z.T. unveröffentlichtem Archivmaterial zeigt sie, auf welch vielfältige Weise britische Literaten zur geistigen Neuorientierung der Deutschen beitrugen - mit Vorträgen und Theateraufführungen, der Erstellung von Anthologien, der Sekretierung von Bibliotheksbeständen u.v.m.; sie erforscht die Bewertung von Besatzung, Entnazifizierung und Umerziehung durch diese Literaten sowie die Neuperspektivierung und -akzentuierung dieser Prozesse im historischen Erzählen bis zur Gegenwart. Sie eröffnet damit, vor dem Hintergrund der Sinn und Orientierung stiftenden Funktion des Geschichtsbewusstseins, neue Perspektiven auf die gesellschaftliche Rolle von Literaten und die Funktion von Literatur, die neuerdings wieder verstärkt in das Interesse der literatur- und kulturwissenschaftlichen Forschung gerückt sind. Zu den behandelten Autoren zählen u.a. Stephen Spender, Christopher Isherwood, W. H. Auden und T. S. Eliot sowie Ian McEwan, Julia Pascal, David Edgar und Ian Rankin.

Daniel Deronda

von George Eliot. Deutsch von Adolf Strodtmann

Die Bemühungen der ostafrikanischen Behörden zur Kolonisierung Ostafrikas

C. Eliot

El hermetismo del mito de Adonis en la literatura brit��nica

Si bien el termino Adonai o su variante Adonis en la mitología Griega remiten tanto a la divinidad Bíblica como a la mitología antigua e inclusive a los tratados filos��ficos de Aristóteles o Spinoza, es curioso que el concepto haya sido personificado y alegorizado con tanta frecuencia en la literatura Anglófona, inclusive en textos cuya interpretación tradicional ha sido de carácter secular. La forma fragmentada en la que la crítica ha entendido el concepto Adonai en obras clásicas de escritores como Shakespeare, Spenser, Milton, Blake, Coleridge, Shelley, Bulwer, Joyce, T. S. Eliot, entre otros se convierte en el desencadenante de debates no solo literarios sino también filos��ficos y religiosos como por ejemplo los desatados por la aparición de El Código Da Vinci (en su formato de novela y de película), en el que el concepto Adonai es recreado desde una perspectiva esot��rica que invita a reconsiderar la concepción del mismo en los clásicos escritos siglos antes. Si el contacto que tuvieron Shelley, Shakespeare, Milton, Spenser, Bulwer, Blake y Joyce con la doctrina hermética les proporcionó el sustento simbólico y el imaginario alquímico de sus obras, entonces se puede afirmar que sus obras pueden condensar de manera alegórica el conocimiento que ellos tenían de las ciencias ocultas. Si el mito de Adonis alegóricamente recrea, de acuerdo al hermetismo, la caída sexual de Adonis, y a través de él la caída de la humanidad, entonces las obras analizadas aludirían a la debilidad carnal del ser humano. Si se puede descubrir una esencia arquet��pica de Adonis en las obras estudiadas y asimismo detectarse un paralelismo en las ideas planteadas por la película norteamericana The Da Vinci Code, entonces es posible identificar analogías y relaciones entre los intereses art��sticos e ideológicos presentes en ambas culturas.

Las Moradas, de Amparo Amorós. Un diálogo entre tradición y modernidad

La comunicación aborda la obra poética de Amaparo Amorós titulada Las Moradas (2000, Calima, España), en diálogo sincrónico con las Moradas de Santa Teresa (1577, España) y con poéticas de la modernidad: simbolismo francés, romanticismo español. El marco teórico en el que se inscribe este diálogo es el de la intertextualidad como engendramiento, preanunciada por Borges en 1944 y formalizada por Kristeva (1968), as�� como el de la propuesta que planteó T.S. Eliot en la tradición y el talento individual (1944). La comunicación, que forma parte de un trabajo mayor, tratará de demostrar por medio de algunos ejemplos textuales la vigencia de la tradición mística en la poes��a española moderna y su relación con el s��mbolo y las correspondencias, como as�� también la concepción de la poes��a como morada del ser, siguiendo la línea post-Hölderlin, teorizada por Heidegger, y la línea de pensamiento y poes��a, expuesta por María Zambrano en Filosofía y poes��a (1939).