Negotiating the British landscape

According to many accounts, a key paradigm for understanding art in Post WWII Britain is one of Englishness versus internationalism or abstraction versus realism . These terms have a rich inflection of meanings that have been subject to interrogation over the last few decades. Anwar Shemza came to Britain and practiced his art at a time when these competing claims were at their height. In a postcolonial reading entitled “Black Diaspora Artists in Britain: Three ‘Moments’ in Post-War Britain” Stuart Hall recently used David Scott’s framework of a ‘problem space’, that is discursively defined through questions, tensions and conjunctures, that couched the entry of what he describes as first waive British commonwealth artists into critical visibility in Britain. This can be characterized in part by the reviews of WG Archer and GM Butcher, both supporters of Shemza and prominent critics of the period. Hall includes Shemza in this framework that defines the work and his aspirations as constituted through the tensions of what was perceived to be anti-colonialist aims of modernism through universalism and the ‘nativist’ current in anti-colonial nationalism . This text will focus particularly on the problematic of Landscape as a ‘problem space’ of vernacular and modernism, over here and over there. The aim is not to define Shemza within the tradition of English landscape nor to exclude him but to position him within a discursive field of landscape and modernism in mid twentieth Century art.

Il realismo di un nuovissimo medio evo: Boccaccio in the age of neorealism

After the war Italian artists and intellectuals saw a significant and necessary confluence between their political desire to create a "new." Italy and their cultural ambition to re-invigorate the study of medieval Italy. This tendency is particularly evident, I argue, in the post-war scholarly and critical focus on Boccaccio, and especially Boccaccio’s Decameron. Not only within the academy but also in the popular press, Boccaccio was granted pride of place in the canon, venerated as the pioneer of socially conscious vernacular literary realism, the archetype for the pursuit of artistic truth in the face of social upheaval. As a result, I wish to suggest, Italian neorealism, which rose to prominence in the first years after the Second World War, was in a significant sense imbued with and realised through a profound engagement with the work of Boccaccio. In turn, the cultural currents affiliated with neorealism influenced Boccaccio studies, whose operative notions of medieval «realism» were to a perhaps surprising degree stimulated by approaches to the neo-realist poetics at work in the Italian films, novels, and criticism of the 1940s and ’50s. Situating the critical discourse surrounding Boccaccio within the post-war Italian context can therefore serve to shed unexpected light on both the cultural affirmation of neorealism and the disciplinary configuration of Italian medieval studies.

Regurgitated bodies: presenting and representing trauma in 'The Act of Killing'

Focusing on The Act of Killing, this chapter examines how an “ethics of realism” operates on three key cinematic arenas: genre, authorship and spectatorship. As far as genre is concerned, the film’s realist commitment emerges from where it is least expected, namely from Hollywood genres, such as the musical, the film noir and the western, which are used as documentary, that is to say, as a fantasy realm where perpetrators can confess to their crimes without restraints or fear of punishment, but which nonetheless retains the evidentiary weight of the audiovisual medium. Authorship, in turn, translates as Oppenheimer’s unmistakable auteur signature through his role of self-confessed “infiltrator” who disguises as a sympathiser of the criminals in order to gain first-hand access to the full picture of their acts. One of them, the protagonist Anwar Congo, is clearly affected by post-traumatic stress disorder, and his repetitive reliving of his killings is made to flare up in front of the camera so as to bring back the dead to the present time in their material reality, through his own body, including a harrowing scene of the actor’s unpredictable and uncontrollable retching as he re-enacts the killing of his victims through strangulation. Finally, in the realm of spectatorship, the usual process of illusionistic identification on the part of the spectator is turned onto its head by means of disguising these criminals as amateur filmmakers, led to shoot, act within, and then watch their own film within the film so as to force them to experience beyond any illusion the suffering they had caused.

Dickens, Hogarth and artistic perception: the case of Nicholas Nickleby

This essay considers the interest shared by William Hogarth and Charles Dickens on the idea of instrumentality in the art of realism. Taking his cue from eighteenth-century epistemological philosophy, Hogarth developed an idea of beauty and realism as insisting upon the need for human subjectivity or perspective. Naïve realism was a style that troubled both Hogarth and Dickens and both men developed forms in which caricature, melodrama and exaggeration is crucial to the development of verisimilitude. Considering the progress pieces and the writings of Hogarth as a preface to the style of Dickens, I argue that Nicholas Nickleby developed an extraordinary self-reflexivity. Both Nicholas and his uncle Ralph form part of a narrative study of the implications of filtering perception through the distorting lens of the individual.

Predicating from an early age: edusemiotics and the potential of children’s preconceptions

This paper aims to explain how semiotics and constructivism can collaborate in an educational epistemology by developing a joint approach to prescientific conceptions. Empirical data and findings of constructivist research are interpreted in the light of Peirce’s semiotics. Peirce’s semiotics is an anti-psychologistic logic (CP 2.252; CP 4.551; W 8:15; Pietarinen in Signs of logic, Springer, Dordrecht, 2006; Stjernfelt in Diagrammatology. An investigation on the borderlines of phenomenology, ontology and semiotics, Springer, Dordrecht, 2007) and relational logic. Constructivism was traditionally developed within psychology and sociology and, therefore, some incompatibilities can be expected between these two schools. While acknowledging the differences, we explain that constructivism and semiotics share the assumption of realism that knowledge can only be developed upon knowledge and, therefore, an epistemological collaboration is possible. The semiotic analysis performed confirms the constructivist results and provides a further insight into the teacher-student relation. Like the constructivist approach, Peirce’s doctrine of agapism infers that the personal dimension of teaching must not be ignored. Thus, we argue for the importance of genuine sympathy in teaching attitudes. More broadly, the article also contributes to the development of postmodern humanities. At the end of the modern age, the humanities are passing through a critical period of transformation. There is a growing interest in semiotics and semiotic philosophy in many areas of the humanities. Such a case, on which we draw, is the development of a theoretical semiotic approach to education, namely edusemiotics (Stables and Semetsky, Pedagogy and edusemiotics: theoretical challenge/practical opportunities, Sense Publishers, Rotterdam, 2015).

Filmljudets funktioner i krigsfilm : En audio-visuell analys av Apocalypse Now och Saving Private Ryan

I denna uppsats har filmljudet i krigsfilmerna Apocalypse Now och Saving Private Ryan undersökts. Detta har gjorts för att försöka bidra med ökad förståelse för filmljudets användningsområde och funktioner, främst för filmerna i fråga, men även för krigsfilm rent generellt. Filmljud i denna kontext omfattar allt det ljud som finns i film, men utesluter dock all ickediegetisk musik. Båda filmerna har undersökts genom en audio-visuell analys. En sådan analys görs genom att detaljgranska båda filmernas ljud- och bildinnehåll var för sig, för att slutligen undersöka samma filmsekvens som helhet då ljudet och bilden satts ihop igen. Den audio-visuella analysmetod som nyttjats i uppsatsen är Michel Chions metod, Masking. De 30 minuter film som analyserades placerades sedan i olika filmljudzoner, där respektive filmljudzons ljudinnehåll bland annat visade vilka främsta huvudfunktioner somfilmljudet hade i dessa filmer. Dessa funktioner är till för att bibehålla åskådarens fokus och intresse, att skapa närhet till rollkaraktärerna, samt att tillföra en hög känsla av realism och närvaro. Intentionerna med filmljudet verkade vara att flytta åskådaren in i filmens verklighet, att låta åskådaren bli ett med filmen. Att återspegla denna känsla av realism, närvaro, fokus samt intresse, visade sig också vara de intentioner som funnits redan i de båda filmernas förproduktionsstadier. Detta bevisar att de lyckats åstadkomma det de eftersträvat. Men om filmljudet använts på samma sätt eller innehar samma funktioner i krigsfilm rent genrellt går inte att säga.I have for this bachelor’s thesis examined the movie sound of the classic warfare movies Apocalypse Now and Saving Private Ryan. This is an attempt to contribute to a more profound comprehension of the appliance and importance of movie sound. In this context movie sound implies all kinds of sounds within the movies, accept from non-diegetic music. These two movies have been examined by an audio-visual analysis. It's done by auditing the sound and picture content separately, and then combined to audit the same sequence as a whole. Michel Chion, which is the founder of this analysis, calls this method Masking. The sound in this 30 minute sequence was then divided into different zones, where every zone represented a certain main function. These functions are provided to create a stronger connection to the characters, sustain the viewers interest and bring a sense of realism and presence. It seems though the intention with the movies sound is to bring the viewers to the scene in hand, and let it become their reality. To mirror this sense of realism, presence, focus and interest, proves to be the intention from an early stage of the production. This bachelor’s thesis demonstrates a success in their endeavours. Although it can’t confirm whether the movie sound have been utilized in the same manner or if they posess the same functions to warefare movies in general.

Filmljudets funktioner i dramafilm : En audio-visuell analys av filmen The King's Speech

Johansson, Fredrik (2012). Filmljudets funktioner i dramafilm – En audio-visuell analys av filmen The King´s Speech. Examensuppsats inom Ljudproduktion, Högskolan Dalarna, Akademin för språk och medier, Falun. I denna uppsats undersöktes filmljudet i dramafilmen The King´s Speech. Detta för att ta reda på vilka funktioner filmljudet fyller i de valda sekvenserna ur nämnda film, samt hur ljudet är placerat i filmens flerkanalsmix. Filmen granskades med hjälp av en audio-visuell analys. Denna metod går ut på att ljudet och bilden undersöks separat, för att sedan åter kombineras och analyseras som helhet. Den audio-visuella analysmetod som använts kommer från ljudteoretikern Michel Chion, och kallas Masking. Resultatet av den audio-visuella analysen pekade mot att ljudets huvudsakliga funktioner var att skapa en realistisk skildring av karaktärer och omgivningar, skapa en känsla av närvaro, samt att skapa och bibehålla olika perspektiv i den narrativa världen. Den stora majoriteten av ljud visade sig vara placerade i centerkanalen, medan främst ickediegetisk musik och ambiensljud var placerade i front- och surroundkanalerna. Detta kanalanvändande tycktes gynna de funna funktionerna, främst genom att bidra till känslan av närvaro och realism, genom att omsluta filmpubliken med ambienta ljud.

Om du vill ha fred, förbered dig på krig : en studie i den militära styrkans betydelse

Denna uppsats kretsar kring att pröva hur en av de främsta företrädarna för den realistiska skolan, förklarar de amerikanska anfallen mot Afghanistan (2001) och Irak (2003). Hans namn är Robert Kagan och uppsatsen syftar till ge en realists tolkning till varför USA handlade som man gjorde. Man måste därför försöka uppfatta världen utifrån USA:s horisont och försöka tolka samt sätta sig in i den amerikanska positionen på den internationella arenan. Problemformuleringarna kretsar kring att få insikt i grundstenarna i Kagans teori, samt hur Kagans grundsyn skiljer sig gentemot den idealistiska. Vidare hur USA:s militära styrka, enligt Kagan, påverkar dess beteende på den internationella arenan, men även hur Kagan ser på USA:s kommande globala engagemang. Robert Kagans bok Om paradiset och makten USA och Europa i den nya världsordningen kommer att utgöra fundamentet i studien. I boken kretsar bl.a. Kagans resonemang kring att USA och Europa distanserar från varandra, men även kring militär styrka. Därför ger boken oss en väldigt bra bild av USA:s position på den internationella arenan. Kagans resonemang vävs sedan ihop med kritik, realism, idealism och geopolitik. Slutsatsen blir att grundstenarna i Kagans resonemang återfinns i den s.k. realismteorin, men även till viss del i geopolitiken. Han sätter stor vikt vid militära medel och ser staterna som de mest betydelsefulla aktörerna, samt ser världen som allmänt hotfull. Han realistiska resonemang grundas på amerikanska spelregler och ledarskap på den internationella arenan. Skillnaden mellan Kagans grundsyn och den idealistiska bottnar främst i idealisternas fokusering på integration mellan stater. Vidare att de sätter tilltro till internationell rätt, samt har ett mer multilateralt förhållningssätt till omvärlden. Kagan menar vidare att starka stater är mer villiga att använda tvång och hot i internationella relationer. De bedömer dessutom hot och risker annorlunda jämfört med svagare stater. Enligt Kagan beter sig USA som en internationell sheriff på den globala arenan och beteendet bottnar i militär styrka. Vidare anser Kagan att USA har haft samma kurs i flera århundraden. USA har expanderat in i Europa och Asien och aldrig dragit sig tillbaka. Man hade redan före den 11 september 2001 fokuserat på Kina som motspelare. Dessutom, menar Kagan, att USA varit villiga att satsa på ny militär teknik, vilken kan förändra krigföringen. Han skriver även att både Clinton och Bushadministrationen varit grundade på att USA är en nödvändig nation, samt att amerikaner vill beskydda och sprida det liberala systemet i världen.

La thématique de l’eau dans l’œuvre de Marguerite Duras

The aim of this thematic study is to examine how the water motif is used in Marguerite Duras’s literary work. The study shows that water has multiple functions in these texts: it is linked to major themes and creates an enigmatic atmosphere by its association with the unknown, the inexplicable and the unconscious. The strong presence of water in Duras’s texts is striking. References to the water element can be found in several titles throughout her career, from early works such as Un barrage contre le Pacifique (1950) to La mer écrite (1996), published just after her death. Almost all of her fiction take place near water – and the rain or the sound of waves serve as leitmotifs in specific novels. The water motif can play a metonymic as well as a metaphoric role in the texts and it sometimes takes on human or animalistic characteristics (Chapter 4). Several emblematic Durassian characters (e.g. the beggar-woman, Anne-Marie Stretter and Lol V. Stein) have a close relationship to water (Chapter 5). The water motif is linked to many major Durassian themes, and illustrates themes with positive connotations, for example, creation, fecundity, maternity, liberty and desire, as well as themes with negative connotations such as destruction and death (Chapter 6). A close reading of three novels, La vie tranquille (1944), L’après-midi de Monsieur Andesmas (1962) and La maladie de la mort (1982), shows that the realism of the first novel is replaced by intriguing evocations of the sea and the pond in the second text, motifs which resist straightforward interpretation. The enigmatic feeling persists in the last novel, in which the sea illustrates the overall sombre mood of the story (Chapter 7). Finally, the role of the water element in psychoanalytic theory is discussed (Chapter 8), and a parallel is drawn between the Jungian concept of the mother archetype and the water motif in Duras’s texts. The suggestion is made in this last chapter that water is used to illustrate an oriental influence (Taoist or Buddhist) of some of the female characters in Duras’s work.

Specialpedagogers och speciallärares olika roller och uppdrag : skilda föreställningar möts och möter en pedagogisk praktik

Syftet med artikeln är att belysa olika föreställningar kring specialpedagogers och speciallärares roller och uppdrag samt att förstå varför denna olikhet finns. Syftet är också att problematisera  dessa föreställningar  och synliggöra dilemman som kommer till uttryck i talet om de båda yrkesgruppernas roller och uppdrag.  Bakgrunden till studien är de skilda och ofta disparata uppfattningar som råder om vad yrkesgrupperna ska arbeta med, hur de ska genomföra sina uppdrag och varför. Konsekvenserna av detta kan leda till att uppdrag genomförs på ett sätt som inte står i överensstämmelse med styrdokumentens föreskrivna demokrati-, samhälls- och kunskapsuppdrag. Samtal har genomförts med specialpedagoger, speciallärare utbildade efter 2008 och rektorer. Den metodologiska ansatsen har varit kunskapande samtal. Kunskapande samtal utgår från ett kommunikationsteoretiskt perspektiv och bygger på Jürgen Habermas teori om det kommunikativa handlandet. Karen Barads teori om agentisk realism har använts för att förstå hur olika föreställningar kring roller och uppdrag uppstår, skapas och förändras i samspel med andras uppfattningar men även i samspel med exempelvis rum, texter och metoder. Olika föreställningar om roller och uppdrag belyses liksom dilemman som dessa föreställningar kan ge upphov till då yrkesrollerna möts i, och möter, en pedagogisk praktik. Resultatet visar att specialpedagoger och speciallärare behöver finnas med i det kontinuerliga arbetet ute på skolor och förskolor men att det kan betyda olika slags organisatoriska lösningar för yrkesgrupperna. En fråga som uppstår är om de specialpedagogiska yrkesgrupperna alltid och i alla sammanhang bör finns så nära barnen/eleverna som möjligt eller om det finns grund för ett mer distanserat sätt att arbeta? Författaren föreslår att svensk förskola och skola bör utnyttja det faktum att det finns två olika specialpedagogiska yrkesgrupper och särskilja deras roller och uppdrag på ett tydligt sätt. Om specialpedagogik dessutom tar avstamp i ett kommunikationsteoretiskt perspektiv skapas förutsättningar och möjligheter för barns/elevers lärande utifrån ett inkluderande synsätt.

Vernacular meaning making : Examples of narrative impact in fiction film questioning the 'banal' notion in mediatization of religion theory

The outcome of an audience study supports theories stating that stories are a primary means by which we make sense of our experiences over time. Empirical examples of narrative impact are presented in which specific fiction film scenes condense spectators' lives, identities and beliefs. One conclusion is that spectators test the emotional realism of the narative for greater significance, connecting diegetic fiction experiences with their extra-diegetic world in their quest for meaning, self and identity. The 'banal' notion of the mediatization of religion theory is questioned as unsatisfactory in the theoretical context of individualized meaning-making processes. As a semantically negatively charged concept, it is problematic when analyzing empirical examples of spectators' use of fictional narratives, especially when trying to characterize the idiosyncratic and complex interplay between spectators' fiction emotions and their testing of mediated narratives in an exercise to find moral significance in extra-filmic life. Instead vernacular meaning-making is proposed.

Can France really stop them? : A study grounded on the realist perspective about the French foreign policy towards Syria as the root cause of the Phenomenon of French Foreign Fighters

During the Syrian conflict the number of European Foreign Fighters has increased exponentially and has become an ever-growing concern for European policymakers. This phenomenon presents host of major security challenges for European policymakers and governments. Among European countries, France provides the highest number of citizens who have gone to Syria to fight against Assad´s regime. The French authorities have estimated that by mid-2014, over 700 French citizens have left France and travelled to Syria to fight. Historically France has had a relationship with Syria which started with its role as a border-drawing colonial power. Grounded in a framework of realism, that emphasizes nation-states as the primary actor within the international system, the analysis concentrates on the role of France´s foreign policy on the Syria as push factor for terrorism and radicalization. This paper attempts to determinate a specific correlation between the policy that France has been conducting towards Syria between 2000 and 2015, and the phenomenon of French Foreign Fighters. Findings suggest that France´s foreign policy towards Syria is the main root cause of the French Foreign Fighters phenomenon.

Harold Pinter, cinema e literatura : os limites da realidade

Partindo de duas questões teóricas preliminares, uma, da representação (literária e cinematográfica)do real e do imaginário, tanto no ângulo da produção como no da sua recepção e, a outra, da articulação entre formas de expressão artísticas distintas, ou seja, da interdisciplinaridade, este trabalho examina a presença do tema relativo aos limites entre realidade e fantasia no teatro, no cinema e na literatura, centrando sua atenção na obra de Harold Pinter. Consta de duas partes, cada uma com três capítulos. Na primeira, "Os pressupostos," discute-se as questões que fornecem seu substrato teórico. A segunda é dedicada ao corpus, identificando em seu título o tema investigado: "Os limites da realidade." Quanto à questão da representação, procura-se refutar "a afirmação de que a arte seja uma imitação da realidade. Uma releitura da Poética, de Aristóteles, reforçada pela opinião de diversos estudiosos da mesma, permite afirmar que a mÍmese corresponde, isto sim, a uma representação que envolve uma construção em que elementos da realidade são organizados segundo uma verdade criada pela própria obra, de acordo com critérios inerentes a ela. Além disso, através de uma leitura de Kathryn Hume, procura-se afirmar a interação sinestésica quase que permanente dos impulsos realista e da fantasiana literatura, identificando os tipos com que a fantasia se manifesta e as técnicas usadas para sua criação. A primeira parte encerra-se com um exame do relacionamento da literatura com as artes visuais e dramáticas, relações inter-disciplinares que situam este trabalho na literatura comparada.Dentre vários autores cujas obras contribuem para tal fim, destaca-se Martin Esslin, que estabelece os limitesde cada uma das artes dramáticas, identifica contatos delas com a literatura e permite, através de uma leitura de seu estudo sobre o teatro do absurdo, seja estabelecida a evolução que liga Aristóteles a Pinter. O corpus centra-se na obra de Pinterpara o teatro e para o cinema, sem limitar-se a ela,pois são também analisadas obras de outros escritores e cineastas, estabelendo-se aproximações ou contrastes entre elas. No quarto capítulo estão agrupadas obras nas quais desponta a imposição de verdades pela força fisica ou verbal. A luta pelo poder, a expulsão de elementos estranhos, dúvidas sobre a identidade e a inter-penetrablidade arte-vida caracterizam o capítulo seguinte. A ênfase temática do sexto capítulo recai sobre as limitações impostas pela condição humana. Praticamente todas as obras expressam a impossibilidade da existência de certezas absolutas e de uma perfeita distinção dos limites da realidade. Com isso, é possível afirmar não ser o objetivo da arte reproduzir a realidade. Mesmo que o fosse, tal tentativa resultaria infrutífera devido às limitações humanas.

The Indetermination of Senior

The commitments and working requirements of abstract, applied, and art of, economics are assessed within an analogy with the fields of inert matter and life. Abstract economics is the pure logic of the phenomenon. Applied positive economics presupposes many distinct abstract sciences. Art presupposes applied economics and direct knowledge of the specificities which characterize the time-space individuality of the phenomenon. This is an indetermination clearly formulated by Senior and Mill; its connection with institutionalism is discussed. The Ricardian Vice is the habit of ignoring the indetermination; its prevalence in mainstream economics is exemplified, and its causes analyzed.

The Ricardian vice and the indetermination of senior

The general commitments and working requirements of abstract, applied, and art of science, including economics, are assessed. Pure economics deals with the logic of the phenomenon. Positive socio-economics presupposes pure economics and many distinct sciences. Art presupposes socio-economics and direct knowledge of the specificities which characterize the time-space individuality of the phenomenon. This indetermination was partially formulated by Senior and Mill; graduate education in economics is considered in its light. The habit of ignoring it is the Ricardian Vice, as named by Schumpeter; the prevalence of the vice is exemplified, and its causes analyzed.