Kirjallisilla merkityksillä kuormitettu kaupunki: Hannu Raittilan Canal Grande ja tradition kerrostumat

Hannu Raittilan Venetsiaan sijoittuva romaani Canal Grande (2001) on läpeensä intertekstuaalinen. Se viittaa paitsi tunnettuun Venetsia-kirjallisuuteen myös lukemattomiin taideteoksiin ja kulttuurihistoriallisiin kerrostumiin. Artikkelissa tutkitaan Canal Granden kirjallisen näyttämön ja romaanin tematiikan välistä yhteyttä sekä henkilöhahmojen kytkeytymistä commedia dell’arte -perinteeseen, johon romaani viittaa suoraan paitsi henkilöiden välisissä keskusteluissa myös kuvaamalla Venetsian karnevaalia.

Sielun pedagogiikkaa -henkinen kasvu osana kokonaisvaltaista kasvatusta Chaitanya vaishnava -tradition gurujen mukaan

Intialaistaustainen Chaitanya vaishnavismi tunnetaan Suomessa yleisemmin nimellä Krishna-liike tai Hare Krishna -uskonto. Länsimaissa se on yksi tunnetuimmista henkisyyden traditioista, jossa toimii guruja eli henkiseen kasvuun erikoistuneita opettajia. Tutkimuksen tarkoituksena on selvittää Chaitanya vaishnava -gurujen käsityksiä ja kokemuksia henkisestä kasvusta, sen päämääristä ja henkisen edistymisen tuntomerkeistä. Tämän lisäksi tutkimus selvittää minkälaisia pedagogisia menetelmiä Chaitanya vaishnava -gurut käyttävät omien oppilaidensa henkisen edistymisen tukemiseksi. Tutkimuksen aineisto koostuu viidestä Chaitanya vaisnava -gurun puolikonstruoidusta teemahaastattelusta. Tämä laadullinen tutkimus pohjautuu fenomenologiseen tutkimusperinteeseen ja tutkimusmenetelmänä on käytetty puolikonstruoitua teemahaastattelua. Aineisto on analysoitu teemoittelemalla. Vaikka haastateltavat edustavat tiettyä henkisyyden perinnettä, heidän näkemyksistään nousi hyvin universaaleja henkisen kasvun teemoja. Kasvatustieteen näkökulmasta erityisen mielenkiintoiseksi osoittautui, että henkisyys ja henkiset harjoitukset voidaan nähdä pedagogisina tiedon ja kokemusmaailman kartuttamisen menetelminä. Henkisten aktiviteettien, kuten meditaation, itsetutkiskelun, pyhien kirjoituksien opiskelun avulla, yksilön on mahdollista saada tietoa ja laajentaa käsityksiään henkisyydestä. Ne ovat henkisen kasvun pedagogisia menetelmiä, joilla oppilaan on mahdollista rakentaa merkityksiä ja suhdettaan henkisyyteen.

The structuralist tradition in economics: methodological and macroeconomics aspects

This paper examines the structuralist tradition in economics, emphasizing the role that structures play in the economic growth of developing countries. Since the subject at hand is evidently too large to cover in a single article, an emphasis has been brought to bear upon the macroeconomic elements of such a tradition, while also exploring its methodological aspects. It begins by analysing some general aspects of structuralism in economics (its evolution and origins) associated with ECLAC thought, in this instance focusing on the dynamics of the center-periphery relationship. Thereafter, the macroeconomic structuralism derived from the works of Taylor (1983, 1991) is presented, followed by a presentation of neo-structuralism. Centred on the concept of systemic competitiveness, this approach defines a strategy to achieve the high road of globalization, understood here as an inevitable process in spite of its engagement being dependent on the policies adopted. The conclusions show the genuine contributions of this tradition to economic theory.

From restrained golden age to creeping platinum age: A periodization of Latin American development in the Robinsonian tradition

ABSTRACTThis paper analyzes Joan Robinson's growth model, and then adapted in order to provide an exploratory taxonomy of Growth Eras. The Growth Eras or Ages were for Robinson a way to provide logical connections among output growth, capital accumulation, the degree of thriftiness, the real wage and illustrate a catalogue of growth possibilities. This modified taxonomy follows the spirit of Robinson's work, but it takes different theoretical approaches, which imply that some of her classifications do not fit perfectly the ones here suggested. Latin America has moved from a Golden Age in the 1950s and 1960s, to a Leaden Age in the 1980s, having two traverse periods, one in which the process of growth and industrialization accelerated in the late 1960s and early 1970s, which is here referred to as a Galloping Platinum Age, and one in which a process of deindustrialization, and reprimarization and maquilization of the productive structure took place, starting in the 1990s, which could be referred to as a Creeping Platinum Age.

An exploration of transformation theory and the western tradition: a critical evaluation of a graduate studies class

This qualitative study is an exploration of transformation theory, the Western tradition, and a critical evaluation of a graduate studies class at a university. It is an exploration of assumptions that are embedded in experience, that influence the experience and provide meaning about the experience. An attempt has been made to identify assumptions that are embedded in Western experience and connect them with assumptions that shape the graduate class experience. The focus is on assumptions that facilitate and impede large group discussions. Jungian psychology of personality type and archetype and developmental psychology is used to analyze the group experience. The pragmatic problem solving model, developed by Knoop, is used to guide thinking about the Western tradition. It is used to guide the analysis, synthesis and writing of the experience of the graduate studies class members. A search through Western history, philosophy. and science revealed assumptions about the nature of truth, reality, and the self. Assumptions embedded in Western thinking about the subject-object relationship, unity and diversity are made explicit. An attempt is made to identify Western tradition assumptions underlying transformation theory. The critical evaluation of the graduate studies class experience focuses upon issues associated with group process, self-directed learning, the educator-learner transaction and the definition of adult education. The advantages of making implicit assumptions explicit is explored.

Metal music as critical dystopia : humans, technology and the future in 1990s science fiction metal

Metal Music as Critical Dystopia: Humans, Technology and the Future in 1990s Science Fiction Metal seeks to demonstrate that the dystopian elements in metal music are not merely or necessarily a sonic celebration of disaster. Rather, metal music's fascination with dystopian imagery is often critical in intent, borrowing themes and imagery from other literary and cinematic traditions in an effort to express a form of social commentary. The artists and musical works examined in this thesis maintain strong ties with the science fiction genre, in particular, and tum to science fiction conventions in order to examine the long-term implications of humanity's complex relationship with advanced technology. Situating metal's engagements with science fiction in relation to a broader practice of blending science fiction and popular music and to the technophobic tradition in writing and film, this thesis analyzes the works of two science fiction metal bands, VOlvod and Fear Factory, and provides close readings of four futuristic albums from the mid to late 1990s that address humanity's relationship with advanced technology in musical and visual imagery as well as lyrics. These recorded texts, described here as cyber metal for their preoccupation with technology in subject matter and in sound, represent prime examples of the critical dystopia in metal music. While these albums identify contemporary problems as the root bf devastation yet to come, their musical narratives leave room for the possibility of hope , allowing for the chance that dystopia is not our inevitable future.

Where's Albania? : staking out the politics of the real and reality in documentary cinema

This thesis, entitled, "Where's Albania? Staking Out the Politics of the Real and Reality in Documentary Cinema," charts the documentary tradition's path from its first incarnations, as filmed travelogue or ethnographic study, for example, right through to its development as a form acting as an objective observer, reflexive commentator, and finally, as a postmodern hybrid. This thesis begins by locating the documentary tradition's origins in realism. Foregrounding documentary cinema as a realist style is important in that it is a contention that spans this entire study. After working through the numerous modes of documentary as outlined by Bill Nichols, I suggest the documentary is often best understood as a hybrid form drawing on numerous modes and conventions. This argument permits my study to make a shift into postmodern theory, wherein I examine postmodernism's relationship to the documentary both as being influenced by it, but also as subsequently forcing documentary cinema to look back at itself and reevaluate the claims it has made in the past, and how postmodernism has drawn these claims to the surface of debate. My thesis concludes with a study of the mockumentary. This analysis confirms the link between postmodernism and documentary, but perhaps more importantly, this analysis investigates postmodemism's critique of the image and representation in general, two elements historically linked to documentary cinema's success as "truth teller."

Anti-Oedipus en-procés : a comparative analysis of Kristeva and Deleuze & Guattari

The present thesis is an attempt to bring into dialogue what appear to be two radically different approaches of negotiating subjectivity in late Western Modernity. Here the thought of Julia Kristeva as well as Gilles Deleuze and Felix Guattari are fully engaged. These thinkers, the latter two being considered as one, have until now remained strangers to one another. Consequently much confusion has amassed concerning their respective philosophical, as well as social/political projects. I take up the position that Deleuze and Guattari's account of subjectivity is a commendable attempt to understand a particular type of historical subject: late modern Western man. However I claim that their account comes up short insofar as I argue that they lack the theoretical language in order to fully, and successfully, make their point. Thus I argue that their system does not stand up to its own claims. On the contrary, by embracing the psychoanalytic tradition - staying rather close to the Freudian and Kleinian schools of thought - I argue that it is in fact Kristeva that is better equipped to provide an account of this particular subject. Considerable time is invested in fleshing out the notion of the Other insofar as this Other is central to the constitution of subjectivity. This Other - insofar as this Other is to be found in Kristeva's notion of the chora -- is something I claim that Deleuze and Guattari simply undervalued.

Remarks and criticism on the Hon. John Quincy Adams's letter to the Hon. Harrison Gray Otis

Printed by Joshua Cushing

Nos saints Evangiles commentes d'apres la tradition et les trabauxrecents

UANL

"Quasi eingebettet in die Schrift" Der doppelte Erzählboden popmoderner Oberflächenbeschreibung und der ästhetische Fundamentalismus in Christian Krachts Roman 1979

Cette mémoire est une analyse du subtexte immanent dans le roman « 1979 » (2001) de Christian Kracht, auteur suisse, qui est le plus connu pour son début « Faserland » (1995). Ces oeuvres sont situées dans le mouvement de la littérature Pop allemande des années 1990 et en résultent en même temps. Dans ce contexte, le climat socio-politique après la réunification, notamment le Literaturstreit, jouera un rôle important dans mon interprétation comme fond de la poésie de Kracht. J’exposerai les difficultés que le discours de la littérature Pop porte en ce qui concerne l’œuvre de cet auteur, qui, même s’il est vu en général comme fondateur de ce genre littéraire en Allemagne, ne considère pas ses textes comme littérature Pop dans ses déclarations notoirement problématiques. Je devrais objecter que Kracht est en combat avec la littérature Pop d’une façon stylistique et pas rarement ironique, ce qui traverse la définition étroite dominante. Il fait cela en adoptant sur l’un côté le trait le plus signifiant du genre, à savoir le caractère superficiel extrêmement descriptif et en transmettant sur l’autre côté un message moral profond, ce qui rend impossible la classification de ses textes comme Pop, signifiant seulement le divertissement ou l’archivisme de Moritz Bassler. En fait, la fréquence de signifiants de Pop dans les textes de Kracht créent par leur arrangement un réseau de sens qui, dans le paradigme post- moderne, peut être décrit le mieux avec le terme « rhizome » de Gilles Deleuze et Félix Guattari. En faisant ça, Kracht suit une autre tradition qui traverse les limites de la littérature Pop, comme il se sert de la décadence, de l’esthétisme et du symbolisme du fin-du-siècle d’un Hugo von Hofmannsthal, d’un Stefan George et d’un Joris-Karl Huysmans avec leurs pointes de mise en garde contre les déficits du modernisme, du libéralisme et du capitalisme, d’une façon nommée « fondamentalisme esthétique » par le sociologiste Stefan Breuer. Cette recherche se référera aux interprétations originales des textes source, aux évaluations de littérature d’accompagnement, à savoir des manuels scolaires en critique littéraire, en sociologie et en histoire allemande, aux comptes rendu, dissertations et entrevues et aux textes philosophiques. Cette mémoire est écrit en allemand.