Bodies That Matter In Bodies That Matter, renowned theorist and philosopher Judith Butler argues that theories of gender need to return to the most material dimension of sex and sexuality: the body. Butler offers a brilliant reworking of the body, examining how the power of heterosexual hegemony forms the "matter" of bodies, sex, and gender. Butler argues that power operates to constrain sex from the start, delimiting what counts as a viable sex. She clarifies the notion of "performativity" introduced in Gender Trouble and via bold readings of Plato, Irigaray, Lacan, and Freud explores the meaning of a citational politics. She also draws on documentary and literature with compelling interpretations of the film Paris is Burning, Nella Larsen's Passing, and short stories by Willa Cather.

Lepo očuvano kao na slikama HALL, Donald (Editor): Contemporary American Poetry. New York, Penguin, 1986. Stated Second Edition. Paperback, 280 pp. Poetry / Literature / Poetry Anthologies. A rich and comprehensive anthology of poetry by American literary luminaries such as Robert Lowell, Allen Ginsberg and Sylvia Plath. Highly recommended. Our Youth by John Ashbery The Picture Of Little J.a. In A Prospect Of Flowers by John Ashbery Some Trees by John Ashbery Thoughts Of A Young Girl by John Ashbery A Vase Of Flowers by John Ashbery The Young Prince And The Young Princess by John Ashbery After The Industrial Revolution, All Things Happen At Once by Robert Bly Andrew Jackson`s Speech by Robert Bly Awakening by Robert Bly The Busy Man Speaks by Robert Bly Driving Toward The Lac Qui Parle River by Robert Bly Hunting Pheasants In A Cornfield by Robert Bly Poem Against The British by Robert Bly Poems In Three Parts: 1 by Robert Bly Poems In Three Parts: 2 by Robert Bly Poems In Three Parts: 3 by Robert Bly The Possibility Of New Poetry by Robert Bly Sleet Storm On The Merritt Parkway by Robert Bly Where We Must Look For Help by Robert Bly Adam`s Song To Heaven by Edgar Bowers The Centaur Overhead by Edgar Bowers Le Reve by Edgar Bowers The Mountain Cemetery by Edgar Bowers The Prince by Edgar Bowers Sonnet To George Sand: 1. A Recognition by Elizabeth Barrett Browning Sonnet To George Sand: 2. A Desire by Elizabeth Barrett Browning After Lorca by Robert Creeley The Cracks by Robert Creeley For Love by Robert Creeley The Hill by Robert Creeley I Know A Man by Robert Creeley Kore by Robert Creeley The Rain by Robert Creeley The Signboard by Robert Creeley The Performance by James Dickey A Poem Beginning With A Line By Pindar by Robert Duncan She by Jorge Guillen Alceste In The Wilderness by Anthony Hecht The End Of The Weekend by Anthony Hecht Samuel Sewall by Anthony Hecht The Vow by Anthony Hecht Another Song by Donald Justice Beyond The Hunting Woods by Donald Justice Counting The Mad by Donald Justice Here In Katmandu by Donald Justice On A Painting By Patient B Of Independence State Hospital by Donald Justice On The Death Of Friends In Childhood by Donald Justice B Negative by X. J. Kennedy First Confession by X. J. Kennedy In A Prominent Bar In Secaucus One Day by X. J. Kennedy Little Elegy; For A Child Who Skipped Rope by X. J. Kennedy Nude Descending A Staircase by X. J. Kennedy The Avenue Bearing The Initial Of Christ In The New World:11 by Galway Kinnell Flower Herding On Mount Monadnock by Galway Kinnell The Grace-note by Denise Levertov A Map Of The Western Part Of The County Of Essex In England by Denise Levertov Overland To The Isalnds by Denise Levertov Six Variations by Denise Levertov The Springtime by Denise Levertov Sunday Afternoon by Denise Levertov The World Outside by Denise Levertov The Picnic by John (1923-1987) Logan A Trip To Four Of Five Towns by John (1923-1987) Logan After The Surprising Conversions by Robert Lowell Between The Porch And The Altar: 3. Katherine`s Dream by Robert Lowell Christmas Eve Under Hooker`s Statue by Robert Lowell For Sale by Robert Lowell The Holy Innocents by Robert Lowell Man And Wife by Robert Lowell Memories Of West Street And Lepke by Robert Lowell New Year`s Day by Robert Lowell Skunk Hour; For Elizabeth Bishop by Robert Lowell After Greece by James Ingram Merrill Angel by James Ingram Merrill Childlessness by James Ingram Merrill The Power Station by James Ingram Merrill The Bones by William Stanley Merwin Departure`s Girlfriend by William Stanley Merwin Grandfather In The Old Men`s Home by William Stanley Merwin Leviathan by William Stanley Merwin Low Fields And Light by William Stanley Merwin Small Woman On Swallow Street by William Stanley Merwin Views From The High Camp by William Stanley Merwin Dark Head by Robert Mezey Epitaph Of A Faithful Man by Robert Mezey The Funeral Home by Robert Mezey Late Winter Birthday by Robert Mezey The Lovemaker by Robert Mezey To Philip Levine, On The Day Of Atonement by Robert Mezey The Fall Again by Howard Nemerov The Statues In The Public Gardens by Howard Nemerov Storm Windows by Howard Nemerov The View From An Attic Window by Howard Nemerov 1. The Evil Eye by Adrienne Cecile Rich 2. The Confrontation by Adrienne Cecile Rich 3. Memorabilia by Adrienne Cecile Rich 4. Consanguinity by Adrienne Cecile Rich 5. The Mirror by Adrienne Cecile Rich 6. The Covenant by Adrienne Cecile Rich The Insusceptibles by Adrienne Cecile Rich The Ash And The Oak by Louis Simpson Early In The Morning by Louis Simpson My Father In The Night Commanding No by Louis Simpson The Riders Held Back by Louis Simpson There Is by Louis Simpson To The Western World by Louis Simpson Walt Whitman At Bear Mountain by Louis Simpson 1 by William Dewitt Snodgrass 4 by William Dewitt Snodgrass 6 by William Dewitt Snodgrass The Examination by William Dewitt Snodgrass Monet: `les Nympheas` by William Dewitt Snodgrass Above Pate Valley by Gary Snyder All Through The Rains by Gary Snyder Hay For The Horses by Gary Snyder Milton By Firelight by Gary Snyder Piute Creek by Gary Snyder At Cove On The Crooked River by William Edgar Stafford Near by William Edgar Stafford Returned To Say by William Edgar Stafford Strokes by William Edgar Stafford Traveling Through The Dark by William Edgar Stafford With My Crowbar Key by William Edgar Stafford A Day With The Foreign Legion by Reed Whittemore On The Suicide Of A Friend by Reed Whittemore The Party by Reed Whittemore Still Life by Reed Whittemore The Walk Home by Reed Whittemore After The Last Bulletins by Richard Wilbur In The Smoking-car by Richard Wilbur Museum Piece by Richard Wilbur Shame by Richard Wilbur Tywater by Richard Wilbur The Undead by Richard Wilbur A World Without Objects Is A Sensible Emptiness by Richard Wilbur At Thomas Hardy`s Birthplace, 1953 by James Wright The Blessing by James Wright Confession To J. Edgar Hoover by James Wright Depressed By A Book Of Bad Poetry, I Walk ... by James Wright A Gesture By A Lady With An Assumed Name by James Wright Lying In A Hammock At William Duffy`s Farm In Pine Island, Minnesota by James Wright Miners by James Wright Saint Judas by James Wright alen ginzberg bitnici bitnička poezija savremena američka antologija savremene američke poezije SAD USA književnost xx veka avangarda neoavangarda postmoderna lirika silvija plat

The Prince Part of the Hero Classics series "Everyone sees what you appear to be, few experience what you really are." The Prince is generally labelled as a cynical and overly pragmatic account of gaining and retaining political power. It is a significant deviation from the righteous meditations of Plato and Aristotle, which emphasise the goodness of human nature. Living in a harsh political climate, Machiavelli devised a more practical and true-to-life guide for leaders who cannot possibly be always good and just. For instance, he talks among other things about the importance to inflict pain all at once but distribute the rewards available gradually and in limited amounts. Besides, the idea that 'the ends justify the means' had never been featured in literature so prominently and openly before. Far-fetched at first glance, Machiavelli's insights after some analysis starts making practical sense when every state and society need to maintain one thing - stability. Although not idealistic, the text is undeniably valid as we can easily track the Prince's features in the best and the worst political leaders of the previous century who are united by the amount of power they were able to exerts - from political heroes such as Churchill and JFK to fascist and communist dictators. In the modern world, The Prince is a viable manual of conduct more than ever with the intense demand for competitiveness not only in the political but equally in business and other spheres. The text is also famous for being written in the vernacular rather than in classical Latin. What might surprise modern readers is that, actually, this peculiarity halted the text's dissemination across Europe as most translations were still done from Latin. The text nevertheless has reached its audience and become one of the most recognizable and accessible reads on politics and leadership. Prikaži više

The Virus in the Age of Madness As seen on CNN's Fareed Zakaria GPS Forget the world that came before. The author of American Vertigo serves up an incisive look at how COVID-19 reveals the dangerous fault lines of contemporary society. With medical mysteries, rising death tolls, and conspiracy theories beamed minute by minute through the vast web universe, the coronavirus pandemic has irrevocably altered societies around the world. In this sharp essay, world-renowned philosopher Bernard-Henri Levy interrogates the many meanings and metaphors we have assigned to the pandemic-and what they tell us about ourselves. Drawing on the philosophical tradition from Plato and Aristotle to Lacan and Foucault, Levy asks uncomfortable questions about reality and mythology: he rejects the idea that the virus is a warning from nature, the inevitable result of global capitalism; he questions the heroic status of doctors, asking us to think critically about the loci of authority and power; he challenges the panicked polarization that dominates online discourse. Lucid, incisive, and always original, Levy takes a bird's-eye view of the most consequential historical event of our time and proposes a way to defend human society from threats to our collective future.

The main claim in this book is that our so-called „moral position“ is determined largely by our concerns („Theory of concerns“, first chapter). The concept I am introducing is that people join together in communities also based on some special interests and concerns. This can sometimes lead to problems if the association around one or sometimes several common interests is misunderstood, that is, it implies some interests that were not the reason for the association. For example, political communities can sometimes imply more than the basic program for which the members initially agreed. Such are often some secret organizations, such as Freemasonry, and such was the political movement of fascism. I claim that the United States of America after 1918, and especially after 1945, set itself the goal of destroying every nuclear-too-powerful opponent, and then the specific destruction of Russia. Under the influence of that illusion, they founded the state community according to the corrected model of fascism, which diverted the course of the entire social life not only of Western society but more or less also of other parts of the world. This also resulted in almost a hundred proxy wars around the world in various forms and affected the entirety of Western culture and social life, from various extreme political and peace movements to various types of social revolts, from the Hippie movement to the Islamic State, to deviation in the politics of science and the entire culture and philosophy, including everyday life. Like in the classical fascist states, Democracy has been minimised and reduced to the presidential election or reduced to be used at the lowest levels of local unimportant issues. Important issues are decided by the expert teams and some rudimentary democracy is practised for the unimportant issues at the lowest local levels. As a solution, a permanent Russo-American conference is proposed. I suggested in the previous essays that the conviction that Russia must be destroyed (RMD) is bad, because of its general deleterious effects and because the end effect will be catastrophic. Why should we (the US) still maintain such intentions and continue with the actions in that direction? It looks quite obvious that we cannot decide to do something bad. We cannot decide to produce an action that we think is not to be produced, it should not be produced. It seems that we cannot decide to perform some action that will have a bad final result for us, even if such a result is remote. Why then should we be immoral or why should we be bad? One of the reasons may be that our judgement (reasons of the US politicians and military or of diplomacy) was faulty because of either ignorance (Plato), lack of knowledge or lack of wisdom. The other is that our decision was akratic[1], that we acted on the account of the weakness of will, or the hedonistic pleasure of humiliating the adversary. The intention, the only intention, is to destroy Russia as a nuclear power, and Serbia is getting in the way. The intention is a sick intention, born of ignorance, lack of wisdom and America’s vindictiveness. When we understand why Serbia is bothering us, we will also understand how the problem can be solved: by learning and bringing a democratic and just society to America. If the enlightenment of America is the method that must be applied, the problem remains how to do it, when in the Atlantic world it is considered that power also implies knowledge. This is where Europe must take on an enlightening role, as it has always done in the past. As it was with Hellenism, with the Renaissance, with the modern world in the 19th and 20th centuries, the world will be nuclear multipolar and a way must be found to survive in such a world. Old Europe is on the move again. Let’s enlighten America to save it. [1] Aristotle, Nikomachean Ethics, ch 7.

Original, made in EU Knjizica od 24 str. Odlicno ocuvano knjizica 5 Cd 5 Studio album by AC/DC Released 28 November 2014 Recorded 3 May – 12 July 2014 Studio The Warehouse (Vancouver) Genre Hard rock Length 34:55 Label Columbia Producer Brendan O`Brien AC/DC chronology Live at River Plate (2012) Rock or Bust (2014) Power Up (2020) Rock or Bust is the sixteenth studio album by Australian rock band AC/DC, released on 28 November 2014. Rock or Bust is the group`s first album to feature rhythm guitarist Stevie Young, replacing founding member Malcolm Young, who had retired from the band earlier in the year due to health concerns. It is the shortest studio album ever released by the band. At approximately 35 minutes, it is two minutes shorter than their previous shortest album, Flick of the Switch, which was released in 1983. It sold 2.8 million copies worldwide. The group released the debut single from the album, titled `Play Ball`, on 7 October 2014. The song has been a commercial success, reaching the top 40 charts in various countries such as Spain (at number 28), France (at number 39) or Switzerland (at number 19). Rock or Bust peaked at number 1 in 12 countries, including Australia, Canada, Germany and Sweden. It reached the top 5 in a further 12 countries, including New Zealand, the United Kingdom, the United States and Italy. The album earned AC/DC a 2015 ECHO Award for Rock/Alternative (International). Drummer Phil Rudd was unable to participate in the supporting tour after being sentenced to house arrest, being replaced by Chris Slade. Lead vocalist Brian Johnson was forced to leave the band after the fifth leg of the tour as a result of hearing loss, with Guns N` Roses lead singer Axl Rose taking his place as lead singer in March 2016, completing the remaining dates. Bassist Cliff Williams left the band after the tour, retiring from music. On 30 September 2020, after two years of rumours, AC/DC officially confirmed that Johnson, Rudd, and Williams had rejoined the band and that they have been working on a new studio album, Power Up, which was released on 13 November 2020, confirming that Rock or Bust would not be the final album to include Johnson, Rudd, and Williams. Overview Released on 28 November 2014 in Australia and New Zealand and 2 December 2014 elsewhere, Rock or Bust marks the band`s first album since 2010`s Iron Man 2 and first album of original material since 2008`s Black Ice.[1] Rock or Bust is the band`s first album without founding member and rhythm guitarist Malcolm Young, who left the band in 2014 for health reasons.[2] Malcolm`s departure was later clarified by the band and their management, who stated that he was officially diagnosed with dementia. While Malcolm has writing credits for every track on the album, all of his guitar parts were recorded by his nephew Stevie Young. He died on 18 November 2017,[3] weeks after his older brother George Young.[4] Before the album was officially announced, Brian Johnson admitted that it was difficult to make the album without Malcolm. He brought about the idea that the album could be called Man Down, but believed the title might be too negative towards Malcolm`s situation and overall health.[5] On 6 November 2014, drummer Phil Rudd was arrested for attempting to procure the murder of two men.[6][7] AC/DC made a statement the same day: `We`ve only become aware of Phil`s arrest as the news was breaking. We have no further comment. Phil`s absence will not affect the release of our new album Rock or Bust and upcoming tour next year.` It was not yet clear whether Rudd would remain with the band or not, or who might be his replacement.[8] The attempted procurement charge against Rudd was dropped the following day; charges of possession of methamphetamine and possession of cannabis and a charge of threatening to kill remained.[9] Recording The album was recorded at Warehouse Studio in Vancouver, Canada, with producer Brendan O`Brien and mixer Mike Fraser.[2] When Rudd was ten days late for the recording sessions, O`Brien was ready to replace him with another drummer, but Rudd arrived and recorded his parts.[10] By Angus Young`s reckoning, recording took, `about four weeks. We had all the material – we were well prepared to do the album and that helped a lot. We`d done a lot of the work before going in the studio. Brendan is a very accomplished musician, so that`s part of why we work with him. He knows all his instruments.`[11] The songs were constructed largely by Angus Young from material accumulated by the brothers during the recording of previous albums.[10] On some lead tracks, Angus Young used the Schaffer Replica, a device that emulates the Schaffer-Vega Diversity System. The device was donated to him by AC/DC fan Fil `SoloDallas` Olivieri.[12] Track listing All tracks are written by Angus Young and Malcolm Young.[23] No. Title Length 1. `Rock or Bust` 3:03 2. `Play Ball` 2:47 3. `Rock the Blues Away` 3:24 4. `Miss Adventure` 2:57 5. `Dogs of War` 3:35 6. `Got Some Rock & Roll Thunder` 3:22 7. `Hard Times` 2:44 8. `Baptism by Fire` 3:30 9. `Rock the House` 2:42 10. `Sweet Candy` 3:09 11. `Emission Control` 3:41 Total length: 34:54 Personnel Brian Johnson – lead vocals Angus Young – lead guitar Stevie Young – rhythm guitar, backing vocals[42] Cliff Williams – bass, backing vocals Phil Rudd – drums Production Brendan O`Brien – producer[42] Mike Fraser – engineer Billy Bowers – additional engineer Tom Syrowski – additional engineer Richard Jones – equipment technician Geoff Banks – equipment technician Rick St. Pierre – equipment technician Ryan Smith – mastering

Magicians Of The Gods: The Forgotten Wisdom Of Earth's Lost Civilisation Graham Hancock's multi-million bestseller Fingerprints of the Gods remains an astonishing, deeply controversial, wide-ranging investigation of the mysteries of our past and the evidence for Earth's lost civilization. Twenty years on, Hancock returned with the sequel to his seminal work filled with completely new, scientific and archaeological evidence, which has only recently come to light. On the heels of the very successful hardcover edition, Hancock returns with this paperback version including two chapters brimming with recent reporting of fresh scientific advances (ranging from DNA to astrophysics) that substantially support the case. Near the end of the last Ice Age 12,800 years ago, a giant comet that had entered the solar system from deep space thousands of years earlier, broke into multiple fragments. Some of these struck the Earth causing a global cataclysm on a scale unseen since the extinction of the dinosaurs. At least eight of the fragments hit the North American ice cap, while further fragments hit the northern European ice cap. The impacts, from comet fragments a mile wide approaching at more than 60,000 miles an hour, generated huge amounts of heat which instantly liquidized millions of square kilometers of ice, destabilizing the Earth's crust and causing the global Deluge that is remembered in myths all around the world. A second series of impacts, equally devastating, causing further cataclysmic flooding, occurred 11,600 years ago, the exact date that Plato gives for the destruction and submergence of Atlantis. The evidence revealed in this book shows beyond reasonable doubt that an advanced civilization that flourished during the Ice Age was destroyed in the global cataclysms between 12,800 and 11,600 years ago. But there were survivors - known to later cultures by names such as 'the Sages', 'the Magicians', 'the Shining Ones', and 'the Mystery Teachers of Heaven'. They travelled the world in their great ships doing all in their power to keep the spark of civilization burning. They settled at key locations - Gobekli Tepe in Turkey, Baalbek in the Lebanon, Giza in Egypt, ancient Sumer, Mexico, Peru and across the Pacific where a huge pyramid has recently been discovered in Indonesia. Everywhere they went these 'Magicians of the Gods' brought with them the memory of a time when mankind had fallen out of harmony with the universe and paid a heavy price. A memory and a warning to the future... For the comet that wrought such destruction between 12,800 and 11,600 years may not be done with us yet. Astronomers believe that a 20-mile wide 'dark' fragment of the original giant comet remains hidden within its debris stream and threatens the Earth. An astronomical message encoded at Gobekli Tepe, and in the Sphinx and the pyramids of Egypt,warns that the 'Great Return' will occur in our time... Prikaži više

- Critical Inquiry Spring 1992 Volume 18, Number 2 University of Chicago Press, 1992 415 str. meki povez stanje: vrlo dobro Winter 1992 Volume 18 Issue 2 161–Jacques Derrida Given Time: The Time of the King One could accuse me here of making a big deal and a whole history out of words and gestures that remain very clear. When Madame de Mainternon says that the King takes her time, it is because she is glad to give it to him and takes pleasure from it: the King takes nothing from her and gives her as much as he takes. And when she says, “I give the rest to Saint-Cyr, to whom I would like to give all,” she is confiding in her correspondent about a daily economy concerning the leisures and charities, the works and days of a “grande dame” somewhat overwhelmed by her obligations. None of the words she writes has the sense of the unthinkable and the impossible toward which my reading would have pulled them, in the direction of giving-taking, of time and the rest. She did not mean to say that, you will say. What if … yes she did [Et si]. And if what she wrote meant to say that, then what would that suppose? How, where, on the basis of what and when can we read this letter fragment as I have done? How could we even hijack it as I have done, while still respecting its literality and its language? End of the epigraph. See also: Jacques Derrida, Biodegradables Seven Diary Fragments · Jacques Derrida, The Animal That Therefore I Am (More to Follow) Jacques Derrida is Directeur d’Études at the École des Hautes Études en Sciences Sociales in Paris, and professor of French, University of California, Irvine. In the past year, he has published Le Problème de la genèse chez Husserl (1990), Mémoires d’aveugle, l’autoportrait et autres ruines (1990), L’Autre Cap (1991), and Circonfession in Jacques Derrida, with Geoffrey Bennington (1991). Peggy Kamuf is professor of French at the University of Southern California and Directeur de Programme, Collège International de Philosophie in Paris. She is the author of Signature Pieces: On the Institution of Authorship (1988) and most recently has edited A Derrida Reader: Between the Blinds (1991). 188–Naomi Schor `Cartes Postales`: Representing Paris 1900 Two widely shared but diametrically opposed views inform what theories we have on the everyday: one, which we might call the feminine or feminist, though it is not necessarily held by women or self-described feminists, links the everyday with the daily rituals of private life carried out within the domestic sphere traditionally presided over by women; the other, the masculine or masculinist, sites the everyday in the public spaces and spheres dominated especially, but not exclusively, in modern Western bourgeois societies by men. According to the one, the everyday is made up of the countless repetitive gestures and small practices that fall under the heading of what the existentialists called the contingent. According to the other, the everyday is made up of the chance encounters of the streets; its hero is not the housewife but the flâneur. In the word of Maurice Blanchot: The everyday is human. The earth, the sea, forest, light, night, do not represent everydayness, which belongs first of all to the dense presence of great urban centers. We need these admirable deserts that are the world’s cities for the experience of the everyday to begin to overtake us. The everyday is not at home in our dwelling-places, it is not in offices or churches, any more than in libraries or museums. It is in the street—if it is anywhere.1 · 1. Maurice Blanchot, “Everyday Speech,” trans. Susan Hanson, in “Everyday Life,” ed. Alice Kaplan and Kristin Ross, special issue of Yale French Studies, no. 73 (1987): 17. See also: Naomi Schor, Pensive Texts and Thinking Statues: Balzac with Rodin · Johannes Fabian, Presence and Representation: The Other and Anthropological Writing Naomi Schor is the William Hanes Wannamaker Professor Romance Studies at Duke University and coeditor of differences: A Journal of Feminist Cultural Studies. Her most recent book is Reading in Detail: Aesthetics and the Feminine (1987). She is currently completing a book entitled George Sand and Idealism. 245–Kofi Agawn Representing African Music Among the fields of music study, ethnomusicology has wrestled most self-consciously with matters of representation. Since its inception in the late nineteenth century as vergleischende Musikwissenschaft [comparative musicology] and throughout its turbulent history, ethnomusicology has been centrally and vitally concerned with at least three basic issues and their numerous ramifications. First is the problem of locating disciplinary boundaries: is ethnomusicology a subfield of musicology, does it belong under anthropology or ethnology, or is it an autonomous discipline?1 Second is the problem of translation: what factors influence the attempt to translate the reality of other musical cultures into audio and visual recordings, verbal accounts, and transcriptions in musical notation? Is there a viable “theory of translatability”?2 Third is a network of political and ideological matters: what sorts of ethical issues constrain the practical effort to understand another culture? What is the relation between empire and ethnomusicological representation? Can we—that is, is it a good thing to—study any music without taking note of the social, economic, political, and technological circumstances of its producers? · 1. A concise introduction to the field of ethnomusicology, its history, personalities, and method may be found in Barbara Krader, “Ethnomusicology,” in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, 20 vols. (London, 1980), 6:275-82. The most comprehensive recent discussion of key issues in ethnomusicological research is Bruno Nettl, The Study of Ethnomusicology: Twenty-nine Issues and Concepts (Urbana, Ill., 1983). · 2. See Johannes Fabian, Time and the Other: How Anthropology Makes Its Object (New York, 1983), p. 43. See also: Ingrid Monson, Hearing, Seeing, and Perceptual Agency · Edward W. Said, Representing the Colonized: Anthropology`s Interlocutors Kofi Agawu teaches at Cornell University and is the author of Playing with Signs: A Semiotic Interpretation of Classic Music (1991). 267–James E. Young The Counter-Monument: Memory against Itself in Germany Today One of the contemporary results of Germany’s memorial conundrum is the rise of its “counter-monuments”: brazen, painfully self-conscious memorial spaces conceived to challenge the very premises of their being. On the former site of Hamburg’s greatest synagogue, at Bornplatz, Margrit Kahl has assembled an intricate mosaic tracing the complex lines of the synagogue’s roof construction: a palimpsest for a building and community that no longer exist. Norbert Radermacher bathes a guilty landscape in Berlin’s Neukölln neighborhood with the inscribed light of its past. Alfred Hrdlicka began (but never finished) a monument in Hamburg to counter—and thereby neutralize—an indestructible Nazi monument nearby. In a suburb of Hamburg, Jochen Gerz and Esther Shalev-Gerz have erected a black pillar against fascism and for peace designed to disappear altogether over time. The very heart of Berlin, former site of the gestapo headquarters, remains a great, gaping wound as politicians, artists, and various committees forever debate the most appropriate memorial for this site.4 · 4. The long-burning debate surrounding projected memorials, to the Gestapo-Gelände in particular, continues to exemplify both the German memorial conundrum and the state’s painstaking attempts to articulate it. For an excellent documentation of the process, see Topographie des Terrors: Gestapo, SS und Reichssicherheitshauptamt auf dem “Prinz-Albrecht-Gelände,” ed. Reinhard Rürup (Berlin, 1987). For a shorter account, see James E. Young, “The Topography of German Memory,” The Journal of Art 1 (Mar. 1991): 30. See also: James E. Young, The Holocaust as Vicarious Past: Art Spiegelman`s `Maus` and the Afterimages of History · W. J. T. Mitchell, Image, Space, Revolution: The Arts of Occupation · Michael North, The Public as Sculpture: From Heavenly City to Mass Ornament James E. Young is assistant professor of English and Judaic studies at the University of Massachusetts, Amherst. He is the author of Writing and Rewriting the Holocaust: Narrative and the Consequences of Interpretation (1988) and The Texture of Memory: Holocaust Memorials and Meaning in Europe, Israel, and America (forthcoming), from which this essay is drawn. He is also the curator of “The Art of Memory,” an exhibition at the Jewish Museum of New York (forthcoming). 300–Pierre Vidal-Naquet Atlantis and the Nations I will not dwell overlong on the “meaning” of this story. But let me make two essential points. Plato tells us this story as though it were true: it is “a tale which, though passing strange, is yet wholly true.” Those words were to be translated into every language in the world and used to justify the most realistic fantasies. That is quite understandable, for Plato’s story started something new. With a perversity that was to ensure him great success, Plato had laid the foundations for the historical novel, that is to say, the novel set in a particular place and a particular time. We are now quite accustomed to historical novels, and we also know that in every detective story there comes a moment when the detective declares that real life is not much like what happens in detective stories; it is far more complicated. But that was not the case in the fourth century B.C. Plat’s words were taken seriously, not by everyone, but by many, down through the centuries. And it is not too hard to see that some people continue to take them seriously today. As for the “meaning,” following others and together with others, I have tried elsewhere to show that essentially it is quite clear: the Athens and Atlantis of ancient lore represent the two faces of Plato’s own Athens. The former, the old primordial Athens, is what Plato would have liked the city of which he was a citizen to be; the latter is what Athens was in the age of Pericles and Cleon, an imperialistic power whose very existence constituted a threat to other Greek cities. See also: Daniel Boyarin and Jonathan Boyarin, Diaspora: Generation and the Ground of Jewish Identity Pierre Vidal-Naquet is director of the Centre Louis Gernet de Recherches Comparées sure les Sociétés Anciennes at the École des Hautes Études en Sciences Sociales in Paris. His most recent publications are the second volume of Les Juifs, la mémoire et le present (1991), La Grèce ancienne 1: Du mythe à la raison, with Jean-Pierre Vernant (1990), and La Démocratie grecque vue d’ailleurs (1990). Among his works to have appeared in English are Myth and Tragedy in Ancient Greece, with Jean-Pierre Vernant (1988), and The Black Hunter: Forms of Thought and Forms of Society in the Greek World (1986). Janet Lloyd is a supervisor for a number of colleges in Cambridge University, where she gives classes in French language and literature. Among her more recent translations are Yves Mény’s Government and Politics in Western Europe: Britain, France, Italy, West Germany (1990) and Marie-Claire Bergère’s Golden Age of the Chinese Bourgeoisie, 1911-1937 (1989). In progress are translations of works on Shakespeare, Pericles’ Athens, and a historical geography of France. 327–Simon Schaffer Self Evidence There seems to be an important historical connexion between changes in the concept of evidence and that of the person capable of giving evidence. Michel Foucault urged that during the classical age the relationship between evidence and the person was reversed: scholasticism derived statements’ authority from that of their authors, while scientists now hold that matters of fact are the most impersonal of statements.1 In a similar vein, Ian Hacking defines a kind of evidence which ‘consists in one thing pointing beyond itself’, and claims that until the early modern period ‘testimony and authority were primary, and things could count as evidence only insofar as they resembled the witness of observers and the authority of books’.2 This captures a rather familiar theme of the ideology of early modern natural philosophy. Nullius in verba was the Royal Society of London’s motto. Robert Boyle, doyen of the Society’s experimental philosophers, tried to build up the credit of laboratory objects at the expense of untrustworthy humans. He reckoned that ‘inanimate bodies … are not capable of prepossessions, or giving us partial informations’, while vulgar men may be influenced by predispositions, and so many other circumstances, that they may easily give occasion to mistakes’. So an inanimate body’s deeds could function as signs of some other state of affairs in a way that the stories of vulgar humans could not.3 · 1. See Michel Foucault, L’Ordre du discours: Leçon inaugurale au Collêge de France prononcée le 2 décembre 1970 (Paris, 1971). · 2. Ian Hacking, The Emergence of Probability: A Philosophical Study of Early Ideas about Probability, Induction and Statistical Inference (Cambridge, 1975), pp. 34, 33. · 3. Quoted in Steven Shapin and Simon Schaffer, Leviathan and the Air Pump (Princeton, N.J., 1985), p. 218. See also Peter Dear, ‘Totius in verba:’ Rhetoric and Authority in the Early Royal Society’, Isis 76 (June 1985): 145-61. See also: Simon Schaffer, Babbage`s Intelligence: Calculating Engines and the Factory System Simon Schaffer lectures in history and philosophy at the University of Cambridge. He is the coauthor (with Steven Shapin) of Leviathan and the Air Pump: Hobbes, Boyle, and the Experimental Life (1985) and coauthors (with David Gooding and Trevor Pinch) of The Uses of Experiment: Studies in the Natural Sciences (1989). 363–Donald Preziosi The Question of Art History Until fairly recently, most of the attention of art historians and others in these debates has been paid to differences among the partisans of various disciplinary methodologies, or to the differential benefits of one or another school of thought or theoretical perspective in other areas of the humanities and social sciences as these might arguably apply to questions of art historical practice.1 Yet there has also come about among art historians a renewed interest in the historical origins of the academic discipline itself, and in the relationships of its institutionalization in various countries to the professionalizing of other historical and critical disciplines in the latter part of the nineteenth century. These interests have led increasingly to wider discussion by art historians of the particular nature of disciplinary knowledge, the circumstances and protocols of academic practice, and the relations between the various branches of modern discourse on the visual arts: academic art history, art criticism, aesthetic philosophy, the art market, exhibitions, and musicology.2 What follows does not aim to summarize or characterize these developments but is more simply an attempt to delineate some of the principal characteristics of the discipline as an evidentiary institution in the light of the material conditions of academic practice that arose in the latter half of the nineteenth century in relation to the history of mueological display. In brief, this essay is concerned with the circumstances of art history’s foundations as a systematic and “scientific” practice, and its focus is limited to a single, albeit paradigmatic, American example. · 1. An extended discussion of these issues may be found in Donald Preziosi, Rethinking Art History: Meditations on a Coy Science (New Haven, Conn., 1989), pp. 80-121. See also The New Art History, ed. A. L. Rees and Frances Borzello (Atlantic Highlands, N.J., 1988). 2. One important sign off these discussions has been a series of “Views and Overviews” of the discipline appearing in The Art Bulletin in recent years, of which the most recent has been perhaps the most extensive and comprehensive: Mieke Bal and Norman Byrson, ”Semiotics and Art History,” The Art Bulletin 73 (June 1991): 174-208. See also: David Summers, “Form,` Nineteenth-Century Metaphysics, and the Problem of Art Historical Description Donald Preziosi is professor of art history at the University of California, Los Angeles, and, beginning in 1992, at the École des Hautes Études en Sciences Sociales in Paris. He is the author of Rethinking Art History: Meditations on a Coy Science (1989) and is currently completing a book on the history of museums entitled Framing Modernity. 387–Bill Brown Writing, Race, and Erasure: Michael Fried and the Scene of Reading … [T]o trace the problematic of writing (however various) in the Norris canon is foremost to confirm Fried’s claims about its pervasiveness. Indeed, he now intimates that the problematic pervades the fiction of “other important writers of the 1890s and early 1900s,” work by Jack London, Harold Frederic, and Henry James (predictably, the “unresolved borderline case” [p. 199]). On the one hand, this pervasiveness muddies an already ambivalent use of the term impressionism (emptied of its traditional content, yet clung to as a heuristic means of grouping writers);10 on the other hand, it augments Fried’s sense that the thematization of writing attained particular moment in the late nineteenth and early twentieth centuries. To my eye, nonetheless, the moment dissolves once its historical isolationism confronts “literary history.” · 10. Fried explicitly addresses this ambivalence, explaining that “I am unpersuaded by the many attempts that have been made to define that concept either in relation to French impressionist painting or in terms of a fidelity to or evocation of the ‘impressions’ of one or more characters (including the implied narrator), but I see no comparably useful designation for the global tendency that Crane, Norris, and Conrad all instantiate” (p. 197 n. 6). The term, as I see it however, serves precisely to exclude the global tendency as it is instantiated elsewhere. And yet, to the degree that “impressionism” can now designate a confrontation between the sight of writing and the impressionist emphasis on sight as traditionally understood, Fried, despite all disclaimers, revivifies that tradition (which has had scant attention in the last two decades). Bill Brown, assistant professor of English at the University of Chicago, is presently completing a book on the “economy of play” in the work of Stephen Crane. 403–Michael Fried Response to Bill Brown So there will be no mistake, I don’t deny, why would I wish to, that a thematic of racial difference is crucial to the overall plot of Almayer’s Folly. What I claim is that that thematic falls short of significantly determining or even, to use Brown’s word, appreciably “complicating” the problematic of erasure that surfaces in the closing chapters. It’s as though the rest of the novel is there chiefly to stage those chapters and their dramatization of erasure; something similar takes place in Powell’s narrative of spying into Captain Anthony’s cabin toward the end of Chance and even, to a lesser degree, in the climactic encounter between Winnie Verloc and her husband in chapter 11 of The Secret Agent. It’s worth noting, too, that the opening paragraphs of A Personal Record, Conrad’s autobiographical account of the beginnings and origins of his “writing life,” describe the circumstances under which “the tenth chapter of ‘Almayer’s Folly’ was begun.”8 This in itself suggests that Conrad has a special stake in the last three chapters of his first novel, and one of my aims in “Almayer’s Face” was to discover (think of the neutrino) what that stake may have been.9 · 8. Joseph Conrad, A Personal Record (1912; Marlboro, Vt., 1988), pp. 72: my emphasis. · 9. Again, so there will be no mistake, I would distinguish Almayer’s Folly sharply in this respect from, for example, The Nigger of the “Narcissus,” in which effects of erasure are disseminated throughout the text and in which the title character’s blackness is crucial to their production. Michael Fried, J. R. Herbert Boone Professor of Humanities at the Johns Hopkins University, is currently at work on books on Manet and on literary “impressionism.” His most recent book is Courbet’s Realism (1990). Nonfiction, Philosophy