Traditional Modern Research Articles

DEVIR UM CORPO VAGANDO: A EDUCAÇÃO E O CORPO NO PENSAMENTO DE TIM INGOLD

ABSTRACT: The article deals with the place of the body and education in the thought of Scottish anthropologist Timothy Ingold. We present the author's main metatheoretical assumptions, highlighting those central to our argument: the pairs nature-culture, body-mind, and animality-humanity. Ingold's thought is a wager on a human education based on becoming, understood as a singular insertion in a tradition always situated on historicity and immanence. It does not have a pre-defined direction but rather establishes itself through wandering, starting from a relationship of attention and perception of the world mediated by others who are already present in it. The body is conceived as a constitutive dimension of the human being, without which it is impossible to understand the way of being-with-others in the world. Thus, human potential is realized, and attention and perception are crucial. By problematizing the consequences of this thought for human education and body education, we found powerful conceptual tools to criticize the modern tradition of education, as well as to envision another way of conceiving human and body education, which are not understood as a transmission of the knowledge with which one operates logically, nor as the education of a material body that should perform as much as possible. Contrarywise, it is conceived as the transmission of a singular form of perception and (re) creation of the world and as an instance of creating paths wandering, respectively.

Буддийские коллекции Астраханского музея-заповедника как исторический источник по изучению истории и культуры калмыцкого народа

Introduction. Museum items tend to arouse significant research interest since they make it possible to trace household activities inherent to a certain community, i.e. aspects of life usually overlooked by archival documents. Astrakhan Reserve Museum houses an authentic collection of Buddhist icons examined in the present study. Goals. The paper attempts an analysis of Kalmyk dartsigs (Buddhist icons) as a source for historical and ethnographic research. Materials and methods. The ‘Kalmyk’ Collection of Astrakhan Reserve Museum numbers over 220 items, including 49 dartsigs. The work analyzes 48 icons, since dartsig 49 is attributed to the modern tradition and has no authentic value. The employed research methods are the historical/genetic, statistical, descriptive, anthropological ones, that of comparative analysis and others. The study is based on an interdisciplinary approach instrumental in providing multifaceted insights. Results. The shaping of the ‘Kalmyk’ Collection took place in the prerevolutionary and Soviet periods. The cultural artifacts were collected and donated to the Museum for a number of reasons, the primary one having been that members of Peter the Great Society for the Study of Astrakhan Land were seeking to preserve cultural heritage of peoples to have inhabited the region, lest the latter should be destroyed by the Soviets or lost in the swirl of history. Our comparisons of the current ‘Kalmyk’ Collection and other sources yield a list of certain Buddhist images that have been lost and are still of great scholarly interest. The well preserved thangkas without passe-partouts had been purposely painted and passed to Peter the Great Society, the poorly preserved ones with traces of soot had once been used in homes of Kalmyk commoners, while the larger and fine images are likely to have been attributes of Buddhist temples or estates of wealthy Kalmyks. The analysis of passe-partouts attests to that Kalmyks were actually handling the icons with utmost veneration, which is evident enough in the qualities of textiles the former were sewn from.

« Celui qui dit la vérité / est lui-même Crétois ». Hans Faverey et la vérité

Even though Hans Faverey was obviously familiar with deconstructivism and post-structuralism (Derrida), their significance must be put into perspective: Faverey did not renounce the claim to truth in favor of intertextual play, but he emphasised the paradoxical nature of truth. In this respect, he is closer to Lacan than to Derrida, even if Lacan was probably not a source of inspiration for him. Faverey’s concept of truth goes back to the tradition of Modernism, with its impossible attempt to describe in language what it irrevocably lacks. He found the material for his poetic project in textual sources where paradoxes abound.

Northern Nigerian intellectuals, Sudan, and the “eclectic style” in contemporary Islamic thought

AbstractThis article examines two northern Nigerian Muslim intellectuals – Aminu Sagagi and Sanusi Lamido Sanusi (enthroned as Emir Muhammadu Sanusi II of Kano, 2014–20) – whose approaches, in different ways, exemplify a self-consciously eclectic Islamic intellectual style. Their eclecticism breaks with categories familiar from the study of Islam in Africa and Nigeria, categories such as Sufis, Salafis and Islamists. The eclecticist style – or rather, styles – draw on northern Nigerian Islamic modernist traditions, the curriculum and atmosphere of Sudan’s International University of Africa (where both of these Nigerian intellectuals received degrees), and a wider set of global influences. Given their diverse intellectual formation, the eclecticists’ writings and careers allow for an examination of the translocal exchanges that have shaped what is sometimes perceived as a self-contained unit called ‘northern Nigeria’. The article further explores how the eclecticist style manifests in legal and political thought, analysing the critiques that Sagagi and Sanusi made of sharīʿa implementation in northern Nigerian states in the early 2000s. The article draws on Nigerian and Sudanese sources, as well as unpublished and published writings by Sagagi and Sanusi, to describe their intellectual trajectories and outlooks and offer a portrait of the eclecticist style.

Askesis and Critique: Foucault and Benjamin

While Foucault referred to Benjamin just once in his entire corpus, scholars have long noticed affinities between the two thinkers, mainly between their conceptions of history: their emphasis on discontinuity, their historiographical practices, and the role of archives in their work. This essay focuses, rather, on their practice of critique and, more specifically, on their conception of the relation of this practice to exercise or askesis. I examine the role of askesis as a self-transformative exercise in Foucault’s late work and how this concept reverberates throughout his idea of critique as the exercise of an ethos demanding arduous work. Against this background, the role of exercise (Übung) in Benjamin’s Origin of the German Traeurspiel, his interest in ascetic kinds of exercise or schooling, and its ties to critique are discerned. This comparison reveals significant similarities in Foucault’s and Benjamin’s conception of philosophy, as well as different emphases in their inheritance of the Kantian critical project: critique as an exercise of an attitude attentive to possibilities for transformation in the present vs. critique as involving an attitude-transforming exercise; critique as a modern ethos that needs to be reactivated vs. critique as propaedeutic, as a preparation for a modern tradition.

Conducting and Reporting Meta.analysis

Systematic reviews and meta-analyses have become an important way to summarize data. The hierarchy of evidence-based medicine confers a high platform to meta-analyses. Hence, it is imperative that the analytical and reporting strategies associated with a meta-analysis be standardized. The modern tradition of reporting and publishing a meta-analysis is riddled with several methodological flaws. The most common of these flaws involves the choice of the model used to conduct the meta-analysis and the way that the heterogeneity of studies are assessed. The use of the I 2 statistic as a means of detecting within-study heterogeneity is a common methodological flaw encountered in reporting summary statistics. One of the ways to rectify these flaws is to arm reviewers with an objective way to scrutinize the manuscript. This narrative review enlists six checklists for reviewers to improve the reporting of meta-analyses. The first two checklists address reporting of the risk of bias and assessment of publication bias with the help of a funnel plot. Checklists 3, 4, and 5 address the choice of the model selected for the meta-analysis, the method to assess the confidence interval, and the measures of heterogeneity. The final checklist addresses the question asked in the meta-analysis, binary versus an effect-size estimate. Although there are many more aspects that can help improve the assessment of a manuscript, these basic checklists can be employed by reviewers without the need for an external statistical analysis to enhance and improve the meta-analyses.

Knowing dissent: the Enlightenment subject within contemporary politics of subjectivity

ABSTRACT This article takes as a starting point journalistic and scholarly commentaries that diagnose new forms of subjectivity emerging through the global protest events of 2009–2013: a plural subject, a networked subject, or a newly autonomous subject. I juxtapose Michel Foucault’s problematization of the form of the modern Enlightenment subject with these commentaries to argue that their diagnoses pay insufficient attention to the epistemological frameworks through which understandings of subjectivity are produced. While commentators view shifts of consciousness as significant to the expression of new forms of subjectivity, I suggest that this view is indicative of a modern tradition of emancipation that requires the modern subject. I conclude that a closer engagement with the work of Foucault and Ashis Nandy on the relationship between epistemology and practices of dissent reveals the epistemological limits through which subjectivity is produced, emphasizing the adaptability and persistence of the modern subject as an epistemological category.

From Tukhmah to Wamḍah: The Literary Forum at the University of Aleppo, Its Critical Enterprise, and the New Poetics of Minimalism

Abstract This essay presents a synoptic view and a critical synthesis of the activity of the Literary Forum at the University of Aleppo (1980–1986) with the aim of putting Aleppo on the map of modern Arabic literature. Serving as an intensive laboratory for literary and meta-literary production under political duress, the Forum is situated at a confluence of global cultural currents as well as at a turning point in the history of the Arabic prose poem. The Forum members devised literary strategies for coping with the deterioration of their city’s cultures while working within both an Arabic tradition of modernity and a global space of intellectual engagement. Well into the twenty-first century, the Forum’s legacies continue to shape the moral stances of poets facing disaster at home and the precariousness of statelessness abroad, and extend into forms of civilian solidarity and collective organizing.

FOUCAULT, THE MODERNIST?

In this essay, I argue that it’s theoretically and historically misleading to talk about a break between modernism and postmodernism, and more specifically, that thinkers such as Foucault and Derrida, two figures frequently associated with the postmodern turn, are situated within certain rational, enlightenment and modernist traditions. As part of this claim, I explore how features such as essentialism, binarism, determinism, positivism, and productivism are not characteristics that can be applied to all of enlightenment thought and modernism, and that such a description of the enlightenment and modernism would themselves be essentialist and caught up in binaries. To illustrate these arguments, I re-read figures such as Berkeley, Schopenhauer, Nietzsche, and a range of Modern artists (especially their conceptualizations about essences, representations, and processes), tracing patterns such as plurality, particularity, and absurdity/incoherence throughout their thought. After historical and theoretical overview, I connect the experiential and philosophical patterns existing before our so-called “postmodern turn” to an examination of Foucault’s rational methodology and critical ontology, as well as his theorization of enlightenment thought, power/knowledge, ethics, and resistance (especially in, but not limited to, his later works). Through all of this, I ultimately show that 1) Rather than a break, postmodernism signifies an extrapolation of certain pre-existing enlightenment and modernist trends, and 2) Michel Foucault can be claimed as both an enlightenment thinker and a modernist. Such a set of arguments, if deduced as correct by readers, might restructure traditional understandings of postmodernism and the legacy of enlightenment thought.

Disjunctive writing in the urban skinscape: Bodies, borders and the physiology of attention in a Rio de Janeiro favela

This article offers a creative disjunctive feminist analysis of affective rhythms within a complexly bordered complex of favelas in Rio de Janeiro. It explores the gendered atmospheric constitution of authority in the favela’s violent border spaces, arguing that authority is partly embodied through a channelling of attention. Attention is conceptualised as involving not just conscious intentions, perceptions and emotions, but also non-conscious rhythms of autonomous affective self-regulation. The article is structured through a tripartite disjunctive form that expresses the bordering of city, body and experience. Drawing on qualitative interview data, quantitative electrodermal activity physiological data and creative writing, the article dwells with the materiality of words and the forms of affects to express material and physiological aspects of emotion and affect in journeys around the internal border-spaces of the city. Adapting the modernist tradition of ‘stream of consciousness’ writing, we style a ‘stream of attention’ form of writing that expresses multiple modes of embodied, conscious and preconscious attention.

Review: Design Technics: Archaeologies of Architectural Practice

Review: <i>Design Technics: Archaeologies of Architectural Practice</i>

Translation as a modernising agent: modern education and religious texts in colonial Manipur (1891–1947)

ABSTRACT The discourse on translation in Manipuri literature – the first Tibeto-Burman language listed in the 8th Schedule of the Indian Constitution – is primarily descriptive in nature and has focused on the central narrative that Manipuri literature enriched itself through translation, oblivious to the question of linguistic and cultural hegemony that preoccupied twentieth-century Manipur. The issue of asymmetrical transaction and dominance between the source languages and the target language remains ignored and shrouded in obscurity. Through mapping out two trajectories of translation projects in Manipur during the colonial era (1891–1945), this article aims to explain this asymmetrical transaction and argues that translation served as a modernising agent via projecting the Indo-Aryan culture as modern/legitimate as opposed to the indigenous culture as traditional/outdated. The first trajectory traces the implications of the translations of textbooks as a direct result of the introduction of modern education in colonial Manipur, while the later discusses the translations of Sanskrit religious texts as an indication of the merging of the Indo-Aryan hegemony within the tradition of colonial modernity in Manipur. Thus, this article explores the role of translation in a marginal state (Manipur), where colonial modernity was constituted via non-native hegemonic languages.

Metalepsis and Stevens’ Abstraction

Metalepsis and Stevens’ Abstraction

Creativity in Marianne Moore’s Poetries: “Poetry”, “The Hero”, and “Marriage”

The tradition in 20th century American poetry has its limits, where it has trouble breaking out of its own literary canon, of a male-centered modernism. In this set of circumstances, the female poet Marianne Moore revolted against the male-centered modernist tradition and strongly evoked an echo in American society. Moore transcended the modernist literary tradition, an age that dealt with difficult themes, and built up her own poetic world with various themes in “Poetry”, “The Hero”, and “Marriage”. While the prevalent modernist writers conveyed the authoritative and moral message in their works, Moore tried to make the meanings of objects, in her writings, more ambivalent with easy subject matters. In other words, she encourages the readers to find meaning in new ways through literary devices, making the meaning of her poems ambiguous and unsure. Especially, what Moore with a third identity, neither a woman nor a man, richly represented the fixed meaning of the subject matters can be considered as her own creative writing. Accordingly, her creative poetic world, which confidently escaped from the previous literary canon, can be significant in paving the way for new poetic ground.

The phenomenon of sincerity as an integrating multidimensional spiritual value in Muslim tradition and modern society

In the context of the globalization of modern society, mutual understanding between representatives of diff erent cultures, peoples and confessions becomes an urgent issue: it is necessary to maintain political, socio-cultural and economic stability in the Russian Federation. It is likely that it is spiritual values that will become a unifying communicative factor that will make it possible to conduct an inter-civilizational dialogue, fi nd points of mutual understanding and help to feel and realize the unity of the Russian and world communities. In this regard, one of the important spiritual values is “sincerity”, integrating many elements of the spiritual sphere and acting in diff erent aspects (axiospheric, social, individual-personal). The phenomenon of sincerity is revealed in the article in the semantic space of modern psychology and Muslim tradition in the context of intercultural communication.

VENERATION OF THE HOLY STONE VOLAS: HISTORICAL EVIDENCE AND MODERN PRACTICES

The paper is about the tradition of worshiping the cult stone Volas near the village of Kryzhovka, Minsk region. All known published and unpublished information about the cult stone is analyzed. Based on the author’s observations and polls, the modern cult of this boulder is characterized. The worship of the Volas stone is not associated with pre-сhristian times. The cult arose in the end of the 19th – early 20th century.&#x0D; The case of the Volas stone is interesting and peculiar because of combining various rather rare and archaic elements of traditional cult practices. Such an atypical combination may call into question the reliability of known information about the Volas stone. However, as it was shown in the article, the name, topography, motive of the legend, the function of treating animals, donations (towels, wool, horns, tails) and skulls hung on the trees around boulder, find their correspondences both in the Belarusian tradition and among other peoples.&#x0D; It is assumed that originally the boulder was not a place of religious worship of a deity, but was used in ritual and magical folk practices in order to save animals from diseases and protect them from harmful effects. The process of new mythologization, the emergence and evolution of a new custom of worship in the mainstream of modern paganism is clearly traced on the example of the stone Volas. Today this place is considered as the sanctuary of Veles/Volos. The formation of the modern tradition of veneration, as we can see, was influenced by the literary reconstructions of the Veles/Volos cult. Some of the new forms of worship do not contradict popular traditions. This can be explained by the good knowledge of special literature by modern pagans. At the same time, it’s not mechanical reconstruction, but natural worship with the appearance of new meanings.

“Judicial killings – that’s a Rarity in Australia”: Detection, Identity and Representation in Nicole Watson’s The Boundary

ABSTRACT Through the lens of Australian author Nicole Watson’s The Boundary this paper will consider the representation of the crime novel, both traditional detection (Christie, Doyle) and the modernist tradition, and how that illuminates social realities. Drawing from critical race theory, and examining the embedded logic of settler colonialism, the paper connects the form of the novel to Watson’s social and legal critique, questioning of the liminality of the legal/illegal, ethical/unethical, and its framing. At stake in the novel is the preservation of an ethnic identity, an uncorrupted natural landscape, and faith in both a political and law enforcement system in which corruption and personal entanglements seem to play as great a role as ethics and integrity. At stake in the paper is how the novel can intervene in social and political debates on Aboriginal, racial, and ethical terms, preserving both personal identity and its contingent effects in protecting the land.

Manhua Modernity: Chinese Culture and the Pictorial Turn

Manhua Modernity: Chinese Culture and the Pictorial Turn

On Some Epistemological Advantages of the Notion of “Intervenient Aesthetic Field”

The reality of the aesthetic seems to manifest itself more and more in relational and immersive ways that defy analyses that follow the trail of the modern tradition of philosophy, based on the dual gnoseological relationship between subject and object. Even some areas of the new cognitive sciences seem to converge towards a conception of experience as a complex horizon in which variously related vectors operate. From this point of view, it is worth exploring the notion of “field” as a conceptual tool to describe the aesthetic. In this paper we will consider two possible uses of this notion in reference to the aesthetic: to describe experiential modes (following Arnold Berleant), and to describe social dynamics (following Pierre Bourdieu). Yet, the starting point will be some considerations provided by Peter Abbs. We will thus try to show how the notion of “aesthetic field” can be consonant with scientific settings that advocate models of mind that stress its being extended and situated. A particular test bed will be the psychology of art as a discipline spanning philosophical knowledge and empirical investigation. In this key will also be considered the so-called “experiential revolution” in psychology, which indicates an extra-cognitive horizon variously coinciding with the perspective of an aesthetic research focused on the conception of aisthesis as a system of practices of perception, emotion, and expression. According to this conception, the dynamics within the aesthetic field, such as those related to the nexus between perceptual contents and aesthetic properties, or between emotional content and the practices of sensing could prove to be dynamics of “intervenience,” rather than of supervenience.

Addressing the Future with Data Visualization in Science Fiction Films: Dystopia or Utopia

The subject of the research is the methods and techniques of addressing the future in dystopian and utopian films. The object of research is visual effects and ways of displaying the future, which allow us to convey to the viewer the meaning of the narrative. In the process of research, special attention is paid to the possibilities of science fiction films that create another world with the help of special effects, emphasizing many themes and hidden ideas, while depicting a fairy tale. Special emphasis is placed on the fact that modern technologies, the possibilities of creating visual effects have changed the film industry, as a result of which it has strengthened the genre convergence of utopian and dystopian film products, as a result of which it has become possible to create plausible worlds so that science fiction films are perceived in a more immersive way. The main conclusions of the study are the conclusion that the modern tradition of visualizing science fiction films embraces and interweaves dystopias and utopias within the framework of one work, as a result of which the narratives are doubly fictional: they create a utopian or dystopian place as a backdrop for history, and at the same time the place itself becomes history. The author's special contribution lies in the fact that in the process of research, visual techniques of representing the future in cinematic fiction are highlighted, which invariably contain cultural meanings. The scientific novelty of the research is to identify and analyze the most typical techniques of reproducing the future in science fiction films using visual effects, which include brutalist architecture, creating an image of the future city.