The Collusion of Feminist and Postmodernist Impulses in E.L. Doctorow’s "Ragtime"

Many critics of Doctorow have classified him as a postmodernist writer, acknowledging that a wide number of thematic and stylistic features of his early fiction emanate from the postmodern context in which he took his first steps as a writer. Yet, these novels have an eminently social and ethical scope that may be best perceived in their intellectual engagement and support of feminist concerns. This is certainly the case of Doctorow’s fourth and most successful novel, Ragtime. The purpose of this paper will be two-fold. I will explore Ragtime’s indebtedness to postmodern aesthetics and themes, but also its feminist elements. Thus, on the one hand, I will focus on issues of uncertainty, indeterminacy of meaning, plurality and decentering of subjectivity; on the other hand, I will examine the novel’s attitude towards gender oppression, violence and objectification, its denunciation of hegemonic gender configurations and its voicing of certain feminist demands. This analysis will lead to an examination of the problematic collusion of the mostly white, male, patriarchal aesthetics of postmodernism and feminist politics in the novel. I will attempt to establish how these two traditionally conflicting modes coexist and interact in Ragtime.

Random Access over Multi-Packet Reception Channels: A Mean-Field Approach

Thesis (Ph.D.)--University of Washington, 2016-06

May the Giant Be With You: Twin Peaks Season Two, Episode One and the Television Auteur

The premiere of Season Two of Twin Peaks garnered some of the highest ratings of the series, with celebrated filmmaker and co-creator David Lynch stepping back into the director’s chair. Yet, within this episode many traditional television conventions are flouted, and in response the following week the ratings dropped dramatically. From its slow-paced opening scenes in which an old man admonishes the wounded, bleeding protagonist to drink his warm milk before it gets cold, followed by a vision of a giant speaking in riddles, this episode not only tested its audience’s patience but also seemed to set out to deliberately confuse them. In this essay I will explore how this episode is an example of auteur television, an episode in which the director expresses a consistency of style and theme that is similar to their other work, as well as examine how Lynch’s approach to televisual aesthetics has influenced the way that contemporary film directors have crossed over into the television medium. However, when taking into account the differences in the two media of film and television notions of authorship, with regards to the position of the director, become complicated, especially when considering contemporary television and the rise of the showrunner as key creative force. Even when looking back at Lynch’s contribution to Twin Peaks it becomes clear that the series was deeply collaborative, with Lynch absent during parts of the filming. Yet, when examining the extensive material that has been written about Twin Peaks there is still a continuing tendency to place Lynch as the sole author. The placement of Lynch as author can be argued in relation to the episodes he directed (as will be explored below in relation to the first episode of Season Two), but cannot be attributed to him alone when considering the series as a whole. Finally, I will discuss how the figure of the television auteur has become a central element of television reception rather than production, an integral part of a viewer’s search for narrative meaning in a medium where complexity and mystery are now expected and enjoyed. Just as fans scrambled to uncover the many secrets and mysteries of Twin Peaks by looking to Lynch’s other works for answers, a similar process is experienced by fans of television shows existing today.

The art of second wave positive psychology: Harnessing Zen aesthetics to explore the dialectics of flourishing

In recent years, a “second wave” of positive psychology has been emerging, characterised, above all, by an awareness and appreciation of the dialectical nature of flourishing. This paper offers a philosophical foundation for this second wave, based on Eastern philosophy, and, in particular, Zen aesthetics. Part one introduces Zen, including its key philosophical ideas and practices, as well as two antecedent traditions that helped to form it, namely, Buddhism and Taoism. Part two then elucidates three aesthetic principles that are integral to Zen: mono no aware (pathos of life), wabi-sabi (desolate beauty), and yūgen (profound grace). The paper discusses how these principles could be of value to positive psychology in fostering dialectical understanding and appreciation, thus highlighting future directions for the field.

Postdigital play and the aesthetics of recruitment

This paper analyses reconfigurations of play in newly emergent material and digital configurations of game design. It extends recent work examining dimensions of hybridity in playful products by turning attention to interfaces, practices and spaces, rather than devices. We argue that the concept of hybrid play relies on predefining clear and distinct entities that then enter into hybrid situations. Drawing on concepts of the ‘interface’ and ‘postdigital’, we argue the distribution of computing devices creates difficulties for such presuppositions. Instead, we propose an ‘aesthetic of recruitment’ that is adequate to the new openness of social and technical play.

How valuable is web 2.0 to music criticism? An investigation into the role of web 2.0 and social media in the reception of Benjamin Britten's operas

The internet is deeply integrated with many people's day to day lives, including that of musicians and musicologists. In this thesis, the impact of the internet on classical music criticism in the Web 2.0 age is examined. Using the examples of Britten's operas, Gloriana and Peter Grimes, an overview of their critical reception is examined, using printed reviews found in The Times since their premières, internet based reviews of two specific performances, and the reactions to these performances on Twitter. Theories of media behaviour including de Mul's view of the 'ludic self' are used in order to explain the content found in reviews in conjunction with citizen journalism, of which blogging is an extension. While there are some consistencies between the print reviews and those online, there are stylistic differences, and wider repercussions for the world of criticism in the wake of the democratisation of culture, as critics find their previously regarded authority obsolete to some. Music criticism is no longer the reserve of the musicologists

Receção estética do texto e promoção da educação literária : trabalho colaborativo interdisciplinar

Dissertação apresentada à Escola Superior de Educação do Instituto Politécnico de Castelo Branco para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Supervisão e Avaliação Escolar.

Ideals, Aesthetics, and Practices of Professionalization in the Tokyo Jazz Scene

In the early twenty-first century, jazz has a history in Japan of approximately 100 years. In contemporary Tokyo, Japanese musicians demonstrate their right to access jazz performance through a variety of musical and extra-musical techniques. Those accepted as fully professional and authentic artists, or puro, gain a special status among their peers, setting them apart from their amateur and part-time counterparts. Drawing on three months of participant-observation in the Tokyo jazz scene, I examine this status of puro, its variable definition, the techniques used by musicians to establish themselves as credible jazz performers, and some obstacles to achieving this status. I claim two things: first, aspiring puro musicians establish themselves within a jazz tradition through musical references to African American identity and a rhetoric of jazz as universal music. Second, I claim that universalism as a core aesthetic creates additional obstacles to puro status for certain musicians in the Tokyo scene.

The Reception Of South-Eastern Cultural Patterns: Late Neolithic And Nascent Bronze Age Flint Working In The Vistula Drainage Basin. The Case Of Trough-Like Retouch

This publication constitutes the fruits of National Science Centre research projects (grant no 2011/01/M/HS3/02142 – 6 articles) and the National Programme for the Development of the Humanities (grant no 0108/NPH3/H12/82/2014 – 3 articles). We would like to acknowledge and at the same time express our sincere gratitude for the generosity shown by the following at the Adam Mickiewicz University in making this publication possible: the Dean of the Department of History, Institute of Pre-history and the Eastern Institute.

Injustice Everywhere: Hemingway's Struggle with Race, Gender, and Aesthetics

The purpose of this study was to critically evaluate the aesthetic decisions and theoretical complexity of three of Ernest Hemingway’s most experimental texts: IN OUR TIME, TO HAVE AND HAVE NOT, and THE GARDEN OF EDEN, and to show that the usually maligned Hemingway was an author invested in the avant-garde and in analyzing and dissecting rigid societal rules, not championing them. Through critical analysis this study examined how Hemingway makes specific aesthetic decisions in order to more clearly examine the disparity between whites and both women and racial minorities in America. The problems that Hemingway makes clear through his art are meant to have a profound effect upon the reader and encourage re-evaluation of societal rules, their purpose, and their fairness to those who are not white, male, and typically in a position of power. The findings demonstrate that Hemingway’s entire oeuvre is open to re-interpretation on the basis of a progressive view of the author.

Neuroscience and Hindu Aesthetics: A Critical Analysis of V.S. Ramachandran’s “Science of Art”

Neuroaesthetics is the study of the brain’s response to artistic stimuli. The neuroscientist V.S. Ramachandran contends that art is primarily “caricature” or “exaggeration.” Exaggerated forms hyperactivate neurons in viewers’ brains, which in turn produce specific, “universal” responses. Ramachandran identifies a precursor for his theory in the concept of rasa (literally “juice”) from classical Hindu aesthetics, which he associates with “exaggeration.” The canonical Sanskrit texts of Bharata Muni’s Natya Shastra and Abhinavagupta’s Abhinavabharati, however, do not support Ramachandran’s conclusions. They present audiences as dynamic co-creators, not passive recipients. I believe we could more accurately model the neurology of Hindu aesthetic experiences if we took indigenous rasa theory more seriously as qualitative data that could inform future research.

Doctrine and Tradition in Benjamin's early Thought : A relegated Chapter in the Study of his Reception of Kant

En el presente trabajo indagamos el significado de los conceptos de "doctrina" y "tradición" en las reflexiones de Benjamin hacia 1917, íntimamente vinculados con su recepción de Kant. Los escasos análisis de tal recepción relegan este aspecto. Intentamos mostrar que estos conceptos expresan un interés por la idea kantiana de unidad sistemática del conocimiento, y sostenemos que Benjamin reinterpreta tal unidad en términos mesiánicos: ya no como un supuesto necesario, sino como una exigencia de redención. Finalmente, exhibimos de qué modo estas nociones se hallan implícitas en el escrito "Sobre el programa de una filosofía futura"