Anna dos 6 aos 18 anos

Pós-graduação em Artes - IA

Foucault's heraclitism and the concept of history

Deleuze states that Foucault would have created a new relationship between men and history, a relationship other than that established by the philosophers of history. In order to specify the steps Foucault took to accomplish this invention, I shall support, according to Deleuze, Foucault s Heraclitism as the basis for a genuine Foucaultian concept of history. After outlining the risks taken by Foucault s concept of history, I observe this concept at work through the three periods that perform his thought: Archeology, Genealogy and Aesthetics of Existence. The main characters that embody his concept of history through these periods are: a) the discontinuous profile of history; b) the denaturalization of would-be unhistorical objects; c) the historical dimension of body; d) the eddies of subjectivation in history. We shall focus our inspection on the turn made along Foucault s work when he takes into a new account the theme of subjectivity, mostly in the last two volumes of the History of Sexuality. Thus, our attention turns to the subjectivity defined as a process, in order to investigate individual identity as the result of history.

Ticagrelor Versus Clopidogrel in Patients With Acute Coronary Syndromes and a History of Stroke or Transient Ischemic Attack

Background-Patients with acute coronary syndromes and history of stroke or transient ischemic attack (TIA) have an increased rate of recurrent cardiac events and intracranial hemorrhages. Methods and Results-We evaluated treatment effects of ticagrelor versus clopidogrel in patients with acute coronary syndrome with and without a history of prior stroke or TIA in the PLATelet inhibition and patient Outcomes (PLATO) trial. Of the 18 624 randomized patients, 1152 (6.2%) had a history of stroke or TIA. Such patients had higher rates of myocardial infarction (11.5% versus 6.0%), death (10.5% versus 4.9%), stroke (3.4% versus 1.2%), and intracranial bleeding (0.8% versus 0.2%) than patients without prior stroke or TIA. Among patients with a history of stroke or TIA, the reduction of the primary composite outcome and total mortality at 1 year with ticagrelor versus clopidogrel was consistent with the overall trial results: 19.0% versus 20.8% (hazard ratio, 0.87; 95% confidence interval, 0.66-1.13; interaction P=0.84) and 7.9% versus 13.0% (hazard ratio, 0.62; 95% confidence interval, 0.42-0.91). The overall PLATO-defined bleeding rates were similar: 14.6% versus 14.9% (hazard ratio, 0.99; 95% confidence interval, 0.71-1.37), and intracranial bleeding occurred infrequently (4 versus 4 cases, respectively). Conclusions-Patients with acute coronary syndrome with a prior history of ischemic stroke or TIA had higher rates of clinical outcomes than patients without prior stroke or TIA. However, the efficacy and bleeding results of ticagrelor in these high-risk patients were consistent with the overall trial population, with a favorable clinical net benefit and associated impact on mortality.

Still/moving images. Il rapporto dialettico tra cinema e fotografia nelle pratiche artistiche contemporanee.

Tra le plurime conseguenze dell’avvento del digitale, la riarticolazione dei rapporti tra immagine statica e immagine in movimento è certamente una delle più profonde. Sintomatica dei cambiamenti in atto sia nei film studies sia nella storia dell’arte, tale riarticolazione richiede un ripensamento dei confini disciplinari tradizionali entro cui il cinema e la fotografia sono stati affrontati come oggetti di studio separati e distinti. Nell’adottare un approccio molteplice, volto a comprendere prospettive provenienti dalla New Film History e dalla media archaeology, dalla teoria dell’arte e dagli studi visuali, questo lavoro esplora l’esistenza di una relazione dialettica tra il cinema e la fotografia intesa in modo duplice: come tensione costitutiva tra due media indissolubilmente connessi – non tanto in considerazione di un medesimo principio realistico di rappresentazione quanto, piuttosto, in virtù di uno scambio incessante nella modellizzazione di categorie quali il tempo, il movimento, l’immobilità, l’istante, la durata; come istanza peculiare della pratica artistica contemporanea, paradigma di riferimento nella produzione estetica di immagini. La tesi si suddivide in tre capitoli. Il primo si concentra sul rapporto tra l’immobilità e il movimento dell’immagine come cifra in grado di connettere l’estetica delle attrazioni e la cronofotografia a una serie di esperienze filmiche e artistiche prodotte nei territori delle avanguardie. Il secondo capitolo considera l’emergenza, dagli anni Novanta, di pratiche artistiche in cui l’incontro intermediale tra film e fotografia fornisce modelli di analisi volti all’indagine dell’attuale condizione estetica e tecnologica. Il terzo offre una panoramica critica su un caso di studio, la GIF art. La GIF è un formato digitale obsoleto che consente di produrre immagini che appaiono, simultaneamente, come fisse e animate; nel presente lavoro, la GIF è discussa come un medium capace di contraddire i confini attraverso cui concepiamo l’immagine fissa e in movimento, suggerendo, inoltre, un possibile modello di pensiero storico-cronologico anti-lineare.

Post-Empire Imaginaries? Anglophone Literature, History, and the Demise of Empires

Empires as political entities may be a thing of the past, but as a concept, empire is alive and kicking. From heritage tourism and costume dramas to theories of the imperial idea(l): empire sells. Post-Empire Imaginaries? Anglophone Literature, History, and the Demise of Empires presents innovative scholarship on the lives and legacies of empires in diverse media such as literature, film, advertising, and the visual arts. Though rooted in real space and history, the post-empire and its twin, the post-imperial, emerge as ungraspable ideational constructs. The volume convincingly establishes empire as welcoming resistance and affirmation, introducing post-empire imaginaries as figurations that connect the archives and repertoires of colonial nostalgia, postcolonial critique, post-imperial dreaming.

In the council, regular session 1913-14 : Council Bill no. 255, introduced by Mr. Fletcher : first reading Oct 31, 1913; second reading Nov. 4, 1913; referred to Committee on Legislation : An ordinance [regarding motion pictures].

Bostwick, A.L. Censorship of motion picture films. Report to the City Council; p. 5-17.

[Culinary ephemera : gelatin and tapioca].

Corporate contributors include: Genesee Pure Food Company; Jell-O-Co. Inc.

Economic and social history of the World War.

Economic and social history of the World War. (British series)

A natural history of the most remarkable quadrupeds, birds, fishes, serpents, reptiles, and insects /

v. 1 (viii, 224 p.) : v. 2 (viii, 256 p.)

Historical pictures : England /

Title-page for vol. III reads : Pictures and descriptions of remarkable events in the history of England ... London, C. Knight and co. 1838.

Digital Classics Outside the Echo-Chamber : Teaching, Knowledge Exchange and Public Engagement /

The international perspectives on these issues are especially valuable in an increasingly connected, but still institutionally and administratively diverse world. The research addressed in several chapters in this volume includes issues around technical standards bodies like EpiDoc and the TEI, engaging with ways these standards are implemented, documented, taught, used in the process of transcribing and annotating texts, and used to generate publications and as the basis for advanced textual or corpus research. Other chapters focus on various aspects of philological research and content creation, including collaborative or community driven efforts, and the issues surrounding editorial oversight, curation, maintenance and sustainability of these resources. Research into the ancient languages and linguistics, in particular Greek, and the language teaching that is a staple of our discipline, are also discussed in several chapters, in particular for ways in which advanced research methods can lead into language technologies and vice versa and ways in which the skills around teaching can be used for public engagement, and vice versa. A common thread through much of the volume is the importance of open access publication or open source development and distribution of texts, materials, tools and standards, both because of the public good provided by such models (circulating materials often already paid for out of the public purse), and the ability to reach non-standard audiences, those who cannot access rich university libraries or afford expensive print volumes. Linked Open Data is another technology that results in wide and free distribution of structured information both within and outside academic circles, and several chapters present academic work that includes ontologies and RDF, either as a direct research output or as essential part of the communication and knowledge representation. Several chapters focus not on the literary and philological side of classics, but on the study of cultural heritage, archaeology, and the material supports on which original textual and artistic material are engraved or otherwise inscribed, addressing both the capture and analysis of artefacts in both 2D and 3D, the representation of data through archaeological standards, and the importance of sharing information and expertise between the several domains both within and without academia that study, record and conserve ancient objects. Almost without exception, the authors reflect on the issues of interdisciplinarity and collaboration, the relationship between their research practice and teaching and/or communication with a wider public, and the importance of the role of the academic researcher in contemporary society and in the context of cutting edge technologies. How research is communicated in a world of instant- access blogging and 140-character micromessaging, and how our expectations of the media affect not only how we publish but how we conduct our research, are questions about which all scholars need to be aware and self-critical.

Economic and social history of the world war. British series

Mode of access: Internet.

Pictures for ... from the Royal Academy and New Gallery.

Mode of access: Internet.

The state of history and the empire of metaphysics [Review]

One of the curious things about this challenging book is that its ostensible subject— the Saxon medical and political scientist Hermann Conring (1606–1681)— is not mentioned in the title. Constantin Fasolt argues that we cannot know what Conring really thought or meant in his writings, which means that his topic cannot be Conring as such and must instead be that which occludes our knowledge of him, the titular limits of history. Given that we do in fact learn a good deal about Conring from Fasolt’s book, we can only hope that the decapitation of its subject will be rectified in a subsequent edition, or perhaps by the restorative work of librarians putting together subject headings. And yet Fasolt’s decision is understandable, for Conring is indeed a stalking-horse for a much bigger quarry: historiography and the historical consciousness. By “history” Fasolt understands a way of imposing intelligibility on the world, which is founded on the twin assumptions that the past is gone and unchangeable, and that the meaning of texts can be determined by placing them in their historical contexts (ix). In challenging this mode of intelligibility, Fasolt is not attempting to improve professiona history—it’s already as good as it can be—but to displace it. He regards his work as a declaration of “independence from historical consciousness” (32). At the same time, Fasolt insists that he is not simply jumping from historiography to philosophy, or attempting to preempt history with ontology (37-39). That has been tried by Nietzsche and Heidegger, who have been tainted by Nazism (Fasolt thinks unfairly). It has also been attempted by modern philosophers from Gadamer to Foucault and Charles Taylor who, in failing to address the “violence” that its mode of intelligibility does to the world, have not succeeded in outflanking history. Perhaps, Fasolt wonders, it is only the personal experience of those who have been subject to this violence—the experience of those who have been subject to historical examination—that can break the spell of history. Fasolt’s disclaimer notwithstanding, in the course of these remarks I shall argue that he is indeed jumping from history to philosophy, or attempting to outflank history by subjecting it to a particular metaphysical understanding. I shall do so in part by sketching the recent intellectual history of this move—a historical examination that I hope inflicts as little violence as possible on Fasolt’s argument.

Everglades Ridge, Slough, and Tree Island Mosaics: Year 2 Annual Report

Status and history of the Ridge-Slough Mosaic The Florida Everglades is a large subtropical wetland with diverse hydrologic, edaphic, and vegetative characteristics. Historically, a significant portion of this system was a slow moving river originating from the Kissimmee River floodplain, flowing into the vast but shallow Lake Okeechobee, and draining south-southwest over extensive peatlands into Florida Bay (McVoy 2011). Human-induced alterations to the hydrologic regime, including reduction, stabilization, and impoundment of water flow through diversion and compartmentalization of water via canals and levees have degraded pre-drainage vegetation patterns and microtopographic structure (Davis and Ogden 1994, Ogden 2005, McVoy 2011). The Everglades peatland emerged 5,000 years ago with the stabilization of sea level at approximately current elevations (Loveless 1959, Gleason and Stone 1994). This, combined with subtropical rainfalls, allowed a vast mass of water to slowly flow over a limestone bedrock platform 160 km long and 50 km wide at a near uniform descent totaling about 6 m, ultimately reaching Florida Bay (Stephens 1956, Gleason and Stone 1994, McVoy 2011). Vegetation quickly colonized the area, and peat, in the absence of adequate respiration, accumulated on the limestone bedrock to a depth of 3-3.7 m (Gleason and Stone 1994, McVoy et al. 2011). The “River of Grass” referenced by Douglas (1947) alludes to the dually intertwined processes of the historic riverine nature of the Everglades and the vast sawgrass (Cladium jamaicense) communities that have dominated the landscape for about the last 1,000 years (Bernhardt and Willard 2009).