Suchergebnisse
Filter
342 Ergebnisse
Sortierung:
Performative contradiction and the Romanian revolution
In: Critical perspectives on theory, culture and politics
Introduction : in search of a new paradigm for the Romanian revolution -- Performative contradiction: structuralist and poststructuralist perspectives -- The performance of authenticity : philosophers question the revolution -- The problem with the "event" : Badiou's split loyalties -- Nostalgia for the old regime : a Freudian interpretation -- Pro-natal legislation and the systematic destruction of intimacy -- The interruption of mourning : on forbidden burials -- On violence : can the revolution be saved? -- Conclusion : other examples
Immobilizing intersectionality: The performative inclusion of feminist expertise within PSI sexual violence policies
In: Women's studies international forum, Band 104, S. 102911
Demonstrative Gewalt, performative Forschung
Vorwort zu: Lee Ann Fujii: Showtime - Formen und Folgen demonstrativer Gewalt. - Mit Blick auf die Ausschreitungen in Rostock-Lichtenhagen hat Birgitta Nedelmann schon vor fast 30 Jahren bemerkt, dass, wenn "die Beobachter beobachtet werden, das heißt, die Beifall klatschenden Rostocker Bürgerinnen und Bürger am Bildschirm beobachtet werden, […] sich alle zu Rostockern [verwandeln]. Es gibt einen auf die Beobachter der Beobachter ausgeübten Zwang zur Übernahme der Rostocker Rolle, ohne zu wissen, wie mit dieser umgegangen werden soll, weder alltäglich, noch soziologisch." Die Frage ist ungebrochen aktuell. Und Showtime eröffnet einen äußerst gut ausgebauten Weg zu ihrer Bearbeitung, vor allem indem Lee Ann Fujii mit ihrer Theorie des casting darauf abhebt, wie alle an einem Gewaltgeschehen Beteiligten leiblich involviert sind - nicht nur die Betroffenen oder die Angreifenden, sondern gerade auch die Zuschauenden -, und das bei Gewaltgeschehen, die mitunter geografisch und zeitlich weit voneinander entfernt stattfinden können. Hinzu kommt ihre theoretisch elegante Synthese eines situativ-prozessualen Forschungsansatzes und der Analyse gesellschaftlicher Ordnungsstiftung, die insbesondere durch die soziale Hierarchisierung von Personengruppen entlang von Kategorien erfolgt, deren auf- bzw. abwertende Bedeutsamkeit gewaltsam geschaffen wird. Gerade hier kann die deutschsprachige Gewaltforschung sehr von der Lektüre von Showtime profitieren, insbesondere was die klärungsbedürftige Verknüpfung von situationistischen Argumenten mit herrschaftssoziologischen Fragen betrifft.
Les conditions sociales de l'efficacité performative de l'insulte
In: Empan, Band 124, Heft 4, S. 130-135
Comme toute violence, la violence verbale est un processus de déshumanisation et de négation qui, au-delà de la seule atteinte affective, inclut les menaces diverses pesant sur l'intégrité psychique ou morale. Pour les professionnels de l'intervention sociale, penser les conditions sociales de l'efficacité performative de l'insulte constitue une possibilité de déplacer son caractère destituant du côté des actes d'institution et dès lors, de la considérer comme le point de départ d'une relation.
Research Less Violent? Or the Ethics of Performative Social Science
In: Forum qualitative Sozialforschung: FQS = Forum: qualitative social research, Band 9, Heft 2
ISSN: 1438-5627
In diesem Beitrag entfalte ich eine Position, die Forschung als immanent gewalttätiges Handeln versteht: sie ringt dem "Fremden" Vertrautheit ab, indem sie sein "Anderssein" in eine Ordnung bringt und das Unbekannte auf diesem Weg zu Erkennbarem transformiert. Durch die Organisation und das (Unter-) Ordnen von Daten – eine Charakteristik jeglicher Analyse und Repräsentation – wird (um eine Foucaultsche Metapher heranzuziehen) die wilde Komplexität der Dinge gezähmt. Ambiguität und Differenz werden eingeebnet, und Unbestimmtheit wird durch "Ergebnisse" verdeckt. Zugleich bleiben moralische Wahlen, ethische und analytische Entscheidungen und die persönliche Beteiligung der Forschenden verborgen bzw. sie erscheinen als etwas quasi Natürliches und Unschuldiges. Genau hier hat performative Sozialwissenschaft die Chance, (sich) an die ethischen Konsequenzen von Analyse und Repräsentation zu erinnern, und sich der Verantwortung für die "Gewaltsamkeit des Zähmens" zu stellen. Diese Chance resultiert aus ihrem Potenzial zu zeigen, nicht zu erzählen; offen gegen die Zukunft zu sein – für andere/neue Ereignisse, Inhalte und Formen – statt der einen finalen Konklusion und dem Abschneiden zusätzlicher Optionen; und auch Kritik, Widerstand und politisches Handeln zu initiieren anstelle des Ringens um Übereinstimmung, Konformität und Gleichgültigkeit.
Hatred of the System: Menacing Loners and Autonomous Cells in the Netherlands
In this article, the violent threat emerging from "menacing loners" and autonomous cells in The Netherlands is being historicized and contextualized by providing quantitative and qualitative insight into this threat and illuminating some of the most dramatic incidents. Although beyond the core purpose of this mainly empirical article, some tentative remarks will be presented as possible explanation for both continuity and change. We argue that the shift from political violence originating from groups and networks to political violence perpetrated by individuals, and the shift from ideologically motivated violence to performative violence, are both shifts within a continuum, not radical breaks with the past. It is a difference in degree. Further, we argue that these gradual shifts in types of violence can only be understood as dependent on parallel manifestations of counter-policies, technological developments, and broader trends within society, rather than as attributable to indigenous terrorist developments as such. We postulate a shift from ideologically motivated to performative violence, resulting to a large extent from the possibilities offered by the Internet and social media, and from a broader cultural trend defined as the emergence of the "casting society."
BASE
The Exposure of Violence: A Performative Reading of Sacrifice in Genesis 22 with Judith Butler and Giorgio Agamben
In: Interdisciplinary journal for religion and transformation in contemporary society: J-RaT, Band 8, Heft 2, S. 275-289
ISSN: 2364-2807
Abstract
The sacrificial story in Genesis 22:1–19, the Aqeda or "Binding of Isaac," has generated a large body of research literature. This is due to its irresolvable ambiguity: God commands the sacrifice of Isaac and stops it. The reader is not informed about reasons or intentions of the characters involved. After analyzing some possible approaches to the text's ambiguity, I offer a new performative reading of the passage with Giorgio Agamben's and Judith Butler's theories of gesture. I argue that this approach effectively deals with ambiguity, because it neither erases violence nor justifies it. It rather exposes violence by interrupting and redirecting it. Abraham's raised hand with the knife thus becomes an interrupted gesture. It makes the text a monument to violence that teaches to see the same situation in a different light and to interrupt the continuous repetition of violent behaviour.
Regina Jose Galindo's Body Talk: Performing Feminicide and Violence against Women in 279 Golpes
In: Latin American perspectives, Band 41, Heft 1, S. 59-71
ISSN: 1552-678X
In the context of neoliberalism and the culture of violence in Guatemala, the performance art of Regina Jose Galindo uses a language of provocation that embodies political struggle. Galindo's art does not realistically portray violence; rather, it opens venues for discussion on violence against women and possible solutions on both a regional and a global level. Performative violence shocks the spectator out of his/her normalized insensitivity to daily gender-based violence. The privileged physicality of the artist's own body challenges the naturalization of violence against women in contemporary Guatemalan society. [Reprinted by permission of Sage Publications Inc., copyright holder.]
The Meaning of Anti-Americanism: A Performative Approach to Anti-American Prejudice
In: International Journal of Conflict and Violence, Band 7, Heft 1
A contribution to the ongoing debate on how anti-Americanism can be adequately conceptualized and how such prejudice can be distinguished from legitimate criticism, arguing that part of these conceptual problems arise from a too narrow focus on defining anti-Americanism and the use of standardized empirical operationalizations. Such approaches exhibit severe limitations in grasping the flexibility of the phenomenon in everyday discourse and often underestimate or ignore the interpretive aspect involved in identifying utterances as anti-American prejudice. Alternatively, a performative approach is proposed, understanding anti-Americanism as a network of speech acts bound by family resemblance rather than identical features. In combination with qualitative empirical research methods such a conceptualization is especially suited to account for the flexible, situated use of anti-American utterances. At the same time it grants reflexivity to the research concept, in the sense of a close description of the scientific application of the notion of anti-Americanism. Two empirical examples from an interview study on anti-American speech in Germany illustrate the potential of such an approach, providing an insight into how anti-Americanism is incorporated into the construction and expression of racist and revisionist national identifications in everyday discourse. Adapted from the source document.
The meaning of anti-Americanism: a performative approach to anti-American prejudice
In: International journal of conflict and violence: IJCV, Band 7, Heft 1, S. 91-107
ISSN: 1864-1385
"A contribution to the ongoing debate on how anti-Americanism can be adequately conceptualized and how such prejudice can be distinguished from legitimate criticism, arguing that part of these conceptual problems arise from a too narrow focus on defining anti-Americanism and the use of standardized empirical operationalizations. Such approaches exhibit severe limitations in grasping the flexibility of the phenomenon in everyday discourse and often underestimate or ignore the interpretive aspect involved in identifying utterances as anti-American prejudice. Alternatively, a performative approach is proposed, understanding anti-Americanism as a network of speech acts bound by family resemblance rather than identical features. In combination with qualitative empirical research methods such a conceptualization is especially suited to account for the flexible, situated use of anti-American utterances. At the same time it grants reflexivity to the research concept, in the sense of a close description of the scientific application of the notion of anti-Americanism. Two empirical examples from an interview study on anti-American speech in Germany illustrate the potential of such an approach, providing an insight into how anti-Americanism is incorporated into the construction and expression of racist and revisionist national identifications in everyday discourse." (author's abstract)
PTH – Performative Thinking in Humanities / 1
Rosario Diana Istituto per la Storia del Pensiero Filosofico e Scientifico Moderno Consiglio Nazionale delle Ricerche (ISPF-CNR) rosariodiana61@gmail.com Editoriale Performative Thinking in Humanities Un Quaderno periodico Editoriale in cui si spiega che il Quaderno Think Tank PTH – Performative Thinking in Humanities diventerà una pubblicazione annuale dedicata alla disseminazione dei saperi filosofici e umanistici attraverso le arti audiovisive e musicali. Filosofia, Musica, Teatro, Impegno, Politica Fabrizio Masucci Museo Cappella Sansevero fabriziomasucci@museosansevero.it Un melologo filosofico per Raimondo di Sangro principe di Sansevero Prefazione del Presidente del Museo Cappella Sansevero al libretto e alla partitura del melologo. Velo, Cristo velato, Museo Cappella Sansevero, Teatro della Filosofia, Disseminazione Rosario Diana Istituto per la Storia del Pensiero Filosofico e Scientifico Moderno Consiglio Nazionale delle Ricerche (ISPF-CNR) rosariodiana61@gmail.com Il pensiero velato Una meditazione notturna del principe di Sansevero melologo in quattro quadri per voce recitante, voci registrate e percussioni libretto Basato sulle opere di Raimondo di Sangro e su altri testi dell'epoca concepiti nella cerchia dei cosiddetti Liberi pensatori, il libretto mette a fuoco la personalità del principe di Sansevero nel momento in cui scrive la Supplica (1753) da inviare a Benedetto XIV per chiedergli di derubricare la sua Lettera apologetica (1751) dall'Index librorum prohibitorum. Raimondo di Sangro viene presentato come un ostinato difensore della libertà di pensiero e della tolleranza. Il suo interesse per il sistema di segni del popolo peruviano (quipu) denuncia in lui un'attenzione per la scrittura, intesa come l'unico strumento concesso all'uomo per lasciare traccia di sé e guadagnare quindi una immortalità (non personale) nella fama. Pensiero critico, Tolleranza, Censura, Scrittura, Sperimentazione Rosalba Quindici Hochschule der Künste Bern rosalbaquindici@yahoo.it Il pensiero velato Una meditazione notturna del principe di Sansevero melologo in quattro quadri per voce recitante, voci registrate e percussioni score Partitura musicale del melologo. Musica contemporanea, Ricerca timbrica, Percussioni, Scrittura, Sperimentazione Rosario Diana Istituto per la Storia del Pensiero Filosofico e Scientifico Moderno Consiglio Nazionale delle Ricerche (ISPF-CNR) rosariodiana61@gmail.com Pandemia 2020 / scena deserta Breve storia di un progetto nato e mutato dall'emergenza sanitaria Il breve saggio racconta le fasi di lavorazione necessarie a produrre il video Pandemia 2020 / scena deserta, che evoca il tema dei teatri chiusi per la l'epidemia di Covid-19 ed è dedicato ad attori e musicisti in difficoltà perché rimasti senza lavoro. L'esplodere dell'emergenza sanitaria ha costretto i partecipanti a modificare il progetto mentre era in corso di svolgimento. Teatro, Video, Scenografia, Musica, Sceneggiatura Nera Prota Accademia di Belle Arti di Napoli nera.prota@yahoo.com Pensare con le mani nell'era digitale Manualità tra Information Technologies (IT) e creatività umana Nelle Accademie di Belle Arti, sempre più spesso l'information technology è proposta come un sostituto o un surrogato dello sviluppo individuale della manualità. Coloro i quali, per qualsiasi motivo, si sentono a disagio nell'usare la loro manualità, possono trovare un'apparente via di uscita nell'uso dei software. Tuttavia, questo trend rinforza la perdita di manualità impedendo alle persone di costruire un loro personale linguaggio artistico. L'aiuto delle macchine nella produzione artistica incontra un'esigenza di mercato, consolidando l'idea fittizia che la creatività umana possa essere espressa attraverso processi standardizzati. Certamente, ciò è funzionale all'interesse del mercato. Per esempio, uno dei software più usati in ambito artistico progettuale è il CAD (Computer-aided design). Il nome del software immediatamente svela la relazione asimmetrica con l'utente. In molti casi, software come il CAD possono interagire direttamente con altre macchine complesse (ossia macchine a controllo numerico) per intraprendere attività di larga scala ed estrema precisione. In questo saggio, l'autrice ricerca il confine tra la produzione industriale e la creatività umana in ambito artistico, sfatando in questo modo alcune ambiguità sul ruolo che la tecnologia ricopre nella società. Design, Virtuale, Arte, Tecnologia, Didattica Benedetta Tramontano Accademia di Belle Arti di Napoli bene_98@hotmail.it Ricerca stilistica e scelte personali Tecla: un'evocazione visuale in tre bozzetti di una città invisibile di Italo Calvino Nel contributo si descrivono le modalità seguite nel dare una raffigurazione fantastica – dunque soggettivo-prospettica – di una delle città invisibili di Italo Calvino: Tecla, la metropoli-cantiere. L'Autrice ha deliberatamente scelto il disegno e la colorazione a mano libera, rifiutandosi di utilizzare software di disegno digitale. Acquerello, china, bozzetto, colore, disegno digitale Rosario Diana Istituto per la Storia del Pensiero Filosofico e Scientifico Moderno Consiglio Nazionale delle Ricerche (ISPF-CNR) rosariodiana61@gmail.it Giancarlo Turaccio Conservatorio Statale di Musica di Salerno "Antonio Martucci" giancarlo.turaccio@gmail.com Un ascolto iniziatico Conversazione tra un filosofo e un compositore sulla musica acusmatica Un ricercatore di filosofia e un docente di composizione dialogano sulla musica acusmatica, ossia quella proposta (anche in concerto) in assenza della sua fonte sonora. La discussione ricostruisce brevemente la storia del concetto e mette in evidenza l'importanza dell'ascolto "puro", fondato sulla relazione diretta fra l'orecchio e l'oggetto sonoro. Pitagorici, Pierre Schaeffer, Walter Benjamin, Oggetto sonoro, Spazializzazione del suono Gianvincenzo Cresta Conservatorio Statale di Musica di Avellino "Domenico Cimarosa" gianvincenzo.cresta@conservatoriocimarosa.org Ricordo di Bruno Maderna (1920-1973) a cento anni dalla nascita Del canto immobile Qualche riflessione su Per Caterina di Bruno Maderna per violino e pianoforte Spesso nell'indagine storico analitica su un compositore si cerca una sintesi e ci si focalizza su alcune opere ritenendole maggiormente rappresentative. È una via possibile che però delimita l'identità del compositore, piegandolo a una narrazione semplificata, mentre invece il cammino creativo di un artista è un complesso caleidoscopio. Per Caterina di Bruno Maderna è un breve brano per violino e pianoforte composto nel 1963, il cui esito, pur ponendosi in rottura rispetto ad altre sue opere e agli stilemi stilistici degli anni '50 e '60, si colloca con naturalezza nell'arco creativo dell'autore. È un brano emblematico del suo modo di vivere la musica come fenomeno unitario, senza steccati stilistici e categorizzazioni. La retorica è per Maderna un mezzo e non un'estetica e la musica un'esperienza complessa che mescola al sonoro il percettivo, il motorio e l'emozionale. Afferma Maderna: «la musica non può essere che un fatto espressivo, un suono suscita reazioni e i suoni non sono che mezzi». Identità, Canto, Antico, Modernità, Libertà Tommaso Rossi Conservatorio Statale di Musica di Benevento "Nicola Sala" info@tommasorossi.it Una grande Aulodìa Flauto e oboe nella "melodia arcaica" di Bruno Maderna Nella variegata e copiosa produzione musicale di Bruno Maderna la scelta di dedicare una particolare attenzione al flauto e all'oboe – i due più acuti rappresentanti della famiglia dei "legni" – sembra andare oltre il pur comprensibile interesse del compositore per l'indagine timbrica di due affascinanti strumenti, ma è legato a ragioni più profonde, che risiedono in aspetti fondanti della poetica musicale del compositore. Il flauto e l'oboe sono "gli" strumenti della mitologia classica, e il loro suono particolare rimanda immediatamente alla Grecia antica, alla civiltà che il popolo greco ha creato e al culto della bellezza che ne è scaturito, influenzando il corso della storia dell'Occidente. Maderna guarda, attraverso il suono di questi strumenti, a questo mondo – oggi perduto – con il preciso desiderio di riproporre utopicamente, in una modernità segnata dalla violenza delle macchine e nel contesto di una società disumanizzata, un ideale superiore ma irraggiungibile di armonia. Attraverso l'analisi di molti dei lavori scritti da Maderna, che hanno per protagonisti il flauto e l'oboe, l'autore ricostruisce alcuni aspetti dell'estetica maderniana. Hyperion, Musica su due dimensioni, Grande Aulodia, Don Perlimplìn, Terzo concerto per oboe Rossella Gaglione Università degli Studi di Napoli Federico II rossellagaglione@hotmail.com Discorsi tra Eco e Narciso A proposito di un recente libro di Dario Giugliano Che rapporto c'è tra ίδιοςe κοινός? E come possono la filosofia (nello specifico la metafisica) e la letteratura coniugare questi due termini? Quanto è difficile, e allo stesso tempo necessario, comunicare con l'Altro, cioè trasferire la propria voce singolare all'interno del sistema segnico condiviso affinché possa essere compresa? Che cos'è l'esperienza? Cosa si intende per idiotismo? Com'è possibile leggere il mito di Eco e Narciso? Questi e altri interrogativi sono alla base del testo di Giugliano che – grazie anche al confronto con vari pensatori (tra cui Platone, Novalis e Nietzsche) – offre numerosi e interessanti spunti di riflessione. Idiotismo, comunicazione, esperienza, Filosofia, linguaggio ; Rosario Diana Istituto per la Storia del Pensiero Filosofico e Scientifico Moderno Consiglio Nazionale delle Ricerche (ISPF-CNR) rosariodiana61@gmail.com Editorial Performative Thinking in Humanities A Periodical Book Editorial explaining that the Book Think Tank PTH – Performing Thinking in Humanities will become an annual publication dedicated to the dissemination of philosophical and humanistic knowledge through the visual and musical arts. Philosophy, Music, Theater, Commitment, Politics Fabrizio Masucci Museo Cappella Sansevero fabriziomasucci@museosansevero.it A Philosophical Melologue for Raimondo di Sangro principe di Sansevero Preface by the President of the Sansevero Chapel Museum to the libretto and score of the melologue. Veil, Veiled Christ, Sansevero Chapel Museum, Philosophy Theater, Dissemination Rosario Diana Istituto per la Storia del Pensiero Filosofico e Scientifico Moderno Consiglio Nazionale delle Ricerche (ISPF-CNR) rosariodiana61@gmail.com The Veiled Thought A Nocturnal Meditation by the Prince of Sansevero melologue in four scenes for narrating voice, recorded voices and percussion libretto Based on the works of Raimondo di Sangro and on other texts of the circle of the Free Thinkers, the libretto focuses on the personality of the Prince of Sansevero when he writes the Supplica (1753) for Benedict XIV. In it he ask him to delete his Lettera apologetica (1751) from the Index librorum prohibitorum. Raimondo di Sangro is presented as an obstinate defender of freedom of free thought and tolerance. His interest in the system of signs of the Peruvian people (quipu) denounces in him an attention to writing, which – understood as a trace of an existence – can guarantee immortality in fame. Critical Thinking, Tolerance, Censorship, Writing, Experimentation Rosalba Quindici Hochschule der Künste Bern rosalbaquindici@yahoo.it The Veiled Thought A Nocturnal Meditation by the Prince of Sansevero melologue in four scenes for narrating voice, recorded voices and percussion partitura musicale Score of the melologue. Contemporary music, Timbric Research, Percussion, Writing, Experimentation Rosario Diana Istituto per la Storia del Pensiero Filosofico e Scientifico Moderno Consiglio Nazionale delle Ricerche (ISPF-CNR) rosariodiana61@gmail.com Pandemic 2020 / Deserted Scene A Brief History of a Project that the Pandemic has changed The short essay describes the processing steps to produce the video Pandemic 2020 / deserted scene, which evokes the theme of closed theaters because of the Covid-19 epidemic and is dedicated to actors and musicians in difficulty, because without work. The explosion of the health emergency forced the participants to modify the project while it was in progress. Theater, Video, Scenography, Music, Screenplay Nera Prota Accademia di Belle Arti di Napoli nera.prota@yahoo.com Thinking with Hands in the Digital Age Crafting Art Amidst Information Technology (IT) and Human Creativity In Art Academies, IT is increasingly proposed as a substitute or a surrogate to developing individual crafting abilities. Those that, for any reasons, feel uncomfortable using their hands can easily find in computer applications an apparent way-out. However, this trend reinforces hands disability preventing individuals to build their own personal artistic language. Machine support in art crafting meets a growing market demand ushering in the fictitious idea that human creativity can be achieved through standardized processes. This is of course functional to market interests. For example, one of the most popular software is used in art design is CAD (Computer-Aided Design). The name itself highlights the asymmetric relation with the user. In many cases software like CAD can directly interact with other complex machines (i.e., numeric control machines) to undertake large-scale, precision tasks. In this essay, the Author will search the boundary between industrial production and human creativity, thus debunking some ambiguity about the role of technology in society. Design, Virtual, Art, Technology, Didactics Benedetta Tramontano Accademia di Belle Arti di Napoli bene_98@hotmail.it Stylistic Research and Personal Choices Tecla: A Visual Evocation in Three Sketches of an Invisible City by Italo Calvino The contribution describes the methods followed in giving a fantastic – therefore subjective-perspective – representation of one of Italo Calvino's invisible cities: Tecla, the building site-city. The Author has deliberately chosen freehand drawing and coloring, refusing to use digital drawing software. Watercolor, Ink, Sketch, Color, Digital Drawing Rosario Diana Istituto per la Storia del Pensiero Filosofico e Scientifico Moderno Consiglio Nazionale delle Ricerche (ISPF-CNR) rosariodiana61@gmail.it Giancarlo Turaccio Conservatorio Statale di Musica di Salerno "Antonio Martucci" giancarlo.turaccio@gmail.com An Initiatory Listening Conversation between a Philosopher and a Composer about Acousmatic Music A philosophy researcher and a professor of composition talk about acousmatic music, which is proposed (even live) in the absence of her sound source. The discussion briefly reconstructs the history of the concept and highlights the importance of "pure" listening, which is based on the direct relationship between the ear and the sound object. Pythagoreans, Pierre Schaeffer, Walter Benjamin, Sound Object, Spatialization of Sound Gianvincenzo Cresta Conservatorio Statale di Musica di Avellino "Domenico Cimarosa" gianvincenzo.cresta@conservatoriocimarosa.org Memory of Bruno Maderna (1920-1973) One Hundred Years After his Birth On Steady Song Some Reflections on Per Caterina by Bruno Maderna for Violin and Piano In the analytic historical survey of a composer we usually look for a synthesis and we focus on some works that are considered more representative. It is a possible way but that can restrict the identity of the composer, bending it to a simplified narrative whereas the creative journey of an artist is a complex kaleidoscope. Per Caterina by Bruno Maderna is a short piece for violin and piano composed in 1963, and despite being in contrast with his other works and stylistic styles of the '50s and '60s, it is naturally placed in the creative arc of the author. It is an emblematic piece of his way of experiencing music as a unitary event, without stylistic fences and categorizations. Rhetoric is for Maderna a means and not an aesthetic and music is a complex experience that mixes sound with the perception, the motor and the emotional. Maderna says: «Music can only be an expressive fact, a sound that elicits reactions and sounds are only a means». Identity, Song, Ancient, Modernity, Freedom Tommaso Rossi Conservatorio Statale di Musica di Benevento "Nicola Sala" info@tommasorossi.it Una grande Aulodìa The Flute and the Oboe in Bruno Maderna's "Arcaic Melody" In Bruno Maderna's varied and copious musical production, the choice to devote particular attention to the flute and the oboe – the two highest pitched members of the "woodwind" family – seems to go beyond the composer's understandable interest in the timbre investigation of two fascinating instruments, but it is linked to deeper reasons, which reside in fundamental aspects of the composer's musical poetics. The flute and the oboe are "the" instruments of classical mythology. Their particular sound immediately recalls ancient Greece, the civilization that the Greeks founded, with its inherent cult of beauty, which influenced the whole history of Western civilization. Through the sound of these instruments, Maderna looks at this world – now lost – with the precise desire to re-propose utopically–in a modernity marked by the violence of machines and in the context of a dehumanized society–a superior but unattainable ideal of harmony. Through the analysis of many of his works, which feature the flute and the oboe, the author reconstructs some aspects of Maderna's aesthetics. Hyperion, Musica su due dimensioni, Grande Aulodia, Don Perlimplìn, Terzo concerto per oboe Rossella Gaglione Università degli Studi di Napoli Federico II rossellagaglione@hotmail.com Talkbetween Echo and Narcissus About a Recent Book by Dario Giugliano What is the relationship between ίδιος and κοινός? And how can philosophy (specifically metaphysics) and literature combine these two terms? How difficult is, and at the same time necessary, communicate with Other, that is to transfer one's singular voice in the shared sign system for this voice can be understood? What is experience? What is idiotism? What about the myth of Echo and Narcissus? These questions and other ones are the basis of Giugliano's text which – thanks also to the comparison with various thinkers (including Plato, Novalis and Nietzsche) – offers numerous interesting food for thought. Idiotism, Communication, Experience, Philosophy, Language
BASE
Hatred of the System: Menacing Loners and Autonomous Cells in the Netherlands
In: Terrorism and political violence, Band 26, Heft 1, S. 156-184
ISSN: 1556-1836
In this article, the violent threat emerging from 'menacing loners' and autonomous cells in The Netherlands is being historicized and contextualized by providing quantitative and qualitative insight into this threat and illuminating some of the most dramatic incidents. Although beyond the core purpose of this mainly empirical article, some tentative remarks will be presented as possible explanation for both continuity and change. We argue that the shift from political violence originating from groups and networks to political violence perpetrated by individuals, and the shift from ideologically motivated violence to performative violence, are both shifts within a continuum, not radical breaks with the past. It is a difference in degree. Further, we argue that these gradual shifts in types of violence can only be understood as dependent on parallel manifestations of counter-policies, technological developments, and broader trends within society, rather than as attributable to indigenous terrorist developments as such. We postulate a shift from ideologically motivated to performative violence, resulting to a large extent from the possibilities offered by the Internet and social media, and from a broader cultural trend defined as the emergence of the 'casting society.'. Adapted from the source document.
Violencias ; Violences
En este artículo se reflexiona críticamente el uso de la noción de violencia cuyo efecto discursivo más grave es oscurecer el lema de que la violencia no es lo contrario de lo "natural" sino una fuerza de intervención necesaria para oponerse precisamente al ejercicio del poder. Ejercicio que sin duda es igualmente violento en su sentido originario de institución de lo estatal y conservador (pues hay permanencia de los aparatos de poder tras el origen). ; In the present paper it is developed a critical reflection on the use of the term violence in which its primarily effect obscured the lemma that violence is not the opposite of the "natural" but an intervention forcé which opposed the acts of power. Action similarly violent in the sense of Institution and equally conservative (there is permanence of power in the origins).
BASE