Universal or provincial? early reception of brian friel´s philadelphia, here I come!

This article, part of a larger research work that resulted in a Professorship Thesis, presents a survey and evaluation of the early reception of one of Brian Friel’s first plays: Philadelphia, Here I Come! (1964). The article also explores the question of emigration from Ireland in the 1950s and 1960s, considering British legislation on the matter, and comments on the eventual influence such issue, among other factors, may have had on criticism about the performance of the play at the time.

Some deviations of form: a little essay on psychoanalysis, art and aesthetics

This work intends to investigate the use of psychoanalytical theory within the aesthetic and critical contemporary art field. To this purpose, it focuses on two philosophers who have become significant in our time: the art critic Hal Foster and the art historian Georges Didi-Huberman. This study aims to show how far the concepts generated in psychoanalytic praxis allowed interpretations that disrupt the traditional aesthetics field. This type of analysis is possible once we abandon the paradigm of “applied psychoanalysis”, which is still current in non-clinical setting. Finally, the proposal wants to argue that the category of the amorphous may clarify certain aesthetic experiences that range from the modernity of art through postmodernity.

Seasonal Variation in Reception of Fin Whale Calls at Five Geographic Areas in the North Pacific

In late August 1991 scientists at the National Oceanic and Atmospheric Administration’s (NOAA) National Marine Mammal Laboratory (NMML) and Pacific Marine Environmental Laboratory (PMEL) began a pilot study to investigate the capability of hydrophones from the US. Navy’s fixed array system to detect large whales in the North Pacific by passive reception of their calls. PMEL had previously established a direct data link from five bottom-mounted arrays of the Navy SOSUS (Sound Surveillance System), via the Naval Oceanographic Processing Facility (NOPF) at Whidbey Island, Washington, to study low-level seafloor seismicity (Fox et al. 1994). PMEL subsequently provided NMML tapes of SOSUS hydrophone data from which whale calls were analyzed. As in an analogous study conducted in the North Atlantic (Nishimura and Conlon 1994, Clark 1995, Mellinger and Clark 1995), calls attributable to whales were received at each SOSUS site at rates that varied seasonally (Anonymous 1996).

The Critical Reception of Beethoven’s Compositions by His German Contemporaries, volume 2

The volumes in The Critical Reception of Beethoven's Compositions by His German Contemporaries bring to light contemporary perceptions of Beethoven's music, including matters such as audience, setting, facilities, orchestra, instruments, and performers as well as the relationship of Beethoven's music to theoretical and critical ideas of the eighteenth and nineteenth centuries. These documents, most of which appear in English for the first time, have been compiled from German-language periodicals published between 1783 and 1830. They present a wide spectrum of insights into the perceptions that Beethoven's contemporaries had of his monumental music. This is the second in a projected four-volume series. It begins with Opus 55, the Eroica, and ends with Opus 72, Fidelio.

EVOLUTIONARY AESTHETICS AND SEXUAL SELECTION IN THE EVOLUTION OF ROCK ART AESTHETICS

This theoretical proposal applies evolutionary aesthetic, animal signalling and sexual selection to understand our artistic cognition, especially rock art aesthetics. Iconographic motifs, universally found in rock art, indicate which set of pre-artistic aesthetic psychological bias has been co-opted to catch the viewer`s attention. The co-evolutionary process of sexual selection could have shaped the design features of both rock art images and their aesthetic cognition by conferring mutual benefits on both producers, via manipulation, and receivers, via information extraction. We show some strategic techniques identified in rock art and art that indicate the occurrence of this co-evolution between producers and receivers.

The Art of Aidagara: Ethics, Aesthetics, and the Quest for an Ontology of Social Existence in Watsuji Tetsurō’s Rinrigaku

This paper provides an analysis of the key term aidagara (“betweenness”) in the philosophical ethics of Watsuji Tetsurō (1889-1960), in response to and in light of the recent movement in Japanese Buddhist studies known as “Critical Buddhism.” The Critical Buddhist call for a turn away from “topical” or intuitionist thinking and towards (properly Buddhist) “critical” thinking, while problematic in its bipolarity, raises the important issue of the place of “reason” versus “intuition” in Japanese Buddhist ethics. In this paper, a comparison of Watsuji’s “ontological quest” with that of Martin Heidegger (1889-1976), Watsuji’s primary Western source and foil, is followed by an evaluation of a corresponding search for an “ontology of social existence” undertaken by Tanabe Hajime (1885-1962). Ultimately, the philosophico-religious writings of Watsuji Tetsurō allow for the “return” of aesthesis as a modality of social being that is truly dimensionalized, and thus falls prey neither to the verticality of topicalism nor the limiting objectivity of criticalism.