Broken Automatons and Barbed Ecologies in Ligia Lewis's Choreographic Imaginary

Social Text ◽  
2021 ◽  
Vol 39 (2) ◽  
pp. 51-67
Author(s):  
Dixa Ramírez D'Oleo

Abstract This article considers choreographer Ligia Lewis's hour-long ensemble performance Water Will (in Melody) to theorize on the relationship between ecological fugitivity and black fugitive movement. It explores how Lewis's choreography disrupts the colonial space-times of colonialism and slavery by offering portals into other space-times. In Water Will (in Melody), racialized assemblages break down from overuse and from glaring surveillance in the form of illumination. The last few minutes of the piece evoke an ambivalent postapocalyptic space-time where darkness becomes textured with what seems to be moonlight peeking into a wet cave. This ending evokes the ecological of histories of fugitivity and the earthiness of Édouard Glissant's concept of opacity, both frequently overlooked in discussions of black fugitivity. The final section traces Lewis's fugitive choreography into what the article calls the barbed ecologies of the hills of the Dominican Republic and Haiti, sites of black and indigenous marronage and symbiosis.

Author(s):  
Frederick C. Beiser

This chapter is an examination of Cohen’s main work on the philosophy of religion, his Religion der Vernunft aus den Quellen des Judentums. Cohen’s religion of reason was an attempt to respond to two opposing conceptions of religion: that of the romantics (Schleiermacher, Fries) and that of the Tübingen school (Baur, Strauβ‎). The romantics saw the essence of religion in feeling, the Tübingen school saw it in myth. Cohen tried to rescue the rational content of religion by interpreting it mainly in ethical terms, which he believed to consist in rational imperatives. Cohen’s concept of God is interpreted in terms of the validity of these ethical imperatives and not in terms of the existence of any entity. One section considers Cohen’s re-examination of the relationship between religion and ethics, which now stresses the distinctive characteristics of religion within ethics. The final section criticizes Rosenzweig’s interpretation of Cohen as a proto-existentialist.


2021 ◽  
pp. 1-31
Author(s):  
David Larkin

Initially criticized for its naïve representation of landscape features, Strauss's Alpensinfonie (1915) has in recent years been reinterpreted by scholars as a deliberate challenge to metaphysics, a late outgrowth of the composer's fascination with Nietzsche. As a consequence, the relationship between Strauss's tone poem and earlier artworks remains underexplored. Strauss in fact relied heavily on long-established tropes of representing mountain scenes, and when this work is situated against a backdrop of similarly themed Romantic paintings, literature, travelogues and musical compositions, many points of resemblance emerge. In this article, I focus on how human responses to mountains are portrayed within artworks. Romantic-era reactions were by no means univocal: mountains elicited overtly religious exhalations, atheistic refutations of all supernatural connections, pantheistic nature-worship, and also artworks which engaged with nature purely in an immanent fashion. Strauss uses a range of strategies to distinguish the climber from the changing scenery he traverses. The ascent in the first half of Eine Alpensinfonie focuses on a virtuoso rendition of landscape in sound, interleaved with suggestions as to the emotional reactions of the protagonist. This immanent perspective on nature would accord well with Strauss's declared atheism. In the climber's response to the sublime experience of the peak, however, I argue that there are marked similarities to the pantheistic divinization of nature such as was espoused by the likes of Goethe, whom Strauss admired enormously. And while Strauss's was an avowedly godless perspective, I will argue in the final section of the article that he casts the climber's post-peak response to the sublime encounter in a parareligious light that again has romantic precedents. There are intimations of romantic transcendence in the latter part of the work, even if these evaporate as the tone poem, and the entire nineteenth-century German instrumental tradition it concludes, fades away into silence.


2019 ◽  
Vol 8 (4) ◽  
pp. 418-427
Author(s):  
Eko Siswanto ◽  
Hasbi Yasin ◽  
Sudarno Sudarno

In many applications, several time series data are recorded simultaneously at a number of locations. Time series data from nearby locations often to be related by spatial and time. This data is called spatial time series data. Generalized Space Time Autoregressive (GSTAR) model is one of space time models used to modeling and forecasting spatial time series data. This study applied GTSAR model to modeling volume of rainfall four locations in Jepara Regency, Kudus Regency, Pati Regency, and Grobogan Regency. Based on the smallest RMSE mean of forecasting result, the best model chosen by this study is GSTAR (11)-I(1)12 with the inverse distance weighted. Based on GSTAR(11)-I(1)12 with the inverse distance weighted, the relationship between the location shown on rainfall Pati Regency influenced by the rainfall in other regencies. Keywords: GSTAR, RMSE, Rainfall


2019 ◽  
pp. 22-38
Author(s):  
Patricia Torres-Pineda ◽  
Carlos M. Rodríguez-Peña ◽  
Óscar M. Lasso-Alcalá ◽  
Arlen Marmolejo

 The population structure of Limia zonata (Nichols, 1915) was studied in four locations in the Maimón River, Monseñor Nouel province, Dominican Republic. The sex and adult-juveniles ratio was calculated for all sampled localities. It was found that the sex ratio of L. zonata was significantly different from 1: 1 and is biased towards females (1.0: 1.6). Juvenile fish were more abundant and frequent than adults (69.3%). More than 800 fish were measured and weighed to analyze the frequency of size classes, morphometry and body condition. Ten size classes were distinguished that vary in frequency according to sex. Total length of the specimens ranged from 6.50 to 65.69 mm, while weight varied between 0.004 and 3.941 g. The morphology varied between sexes and a pronounced sexual dimorphism was found. All the morphometric variables studied showed a high level of association (r). The adjustment of the regression models (r2) of the morphometric relationships was between 85% and 99%. The relationship between the standard length and the total weight was reflected in the rates of growth. The Relative Condition Factor (Kn) demonstrated the good state of health of this fish population, but also variations between the sexes were detected.


Author(s):  
В.Р. Аминева

На материале произведений современной татарской писательницы Р. Габдулхаковой выявляются конститутивные черты жанра парча в современной татарской литературе. Охарактеризованы жанровые разновидности парчи в творчестве Р. Габдулхаковой, которые соответствуют двум направлениям сюжетного движения: от внешнего к внутреннему или от единичного к универсальному и двум типам повествования - от 1-го или от 3-го лица. Художественное завершение в парчах первого типа определяется постижением некой нравственной истины, вытекающей из лично пережитой лирическим субъектом ситуации, в парчах второго типа оно создается переходом от отдельных явлений к их суммирующему итогу. Сделан вывод о том, что внутреннюю меру жанра определяет характер соотношения повествовательной фабулы и обобщающей ее «концовки». Описаны свойственные этому жанру пространственно-временные отношения и принципы организации субъектной сферы. Структурообразующая роль в парчах Р. Габдулхаковой отводится субъективно-лирическому началу в повествовании. В произведениях писательницы проявились как особенности ее творческой индивидуальности, так и типологические черты женской прозы в целом с ее повышенной эмоциональностью, автобиографичностью и проникновенностью. Большинство миниатюр Р. Габдулхаковой написаны от первого лица и представляют сознание женщины, сосредоточенной на переживании своего одиночества и «холода жизни», безответной любви и позднего раскаяния, боли утраты, преследующей каждого человека после ухода матери. Парчи, написанные от третьего лица, раскрывают сознание человека, знающего о существовании объективных закономерностей и пытающегося найти личный выход из безнадежных ситуаций. В творчестве Р. Габдулхаковой парча функционирует как синтетический жанр, вбирающий в себя элементы других жанровых форм. On the material of works of the modern Tatar writer R. Gabdulhakova the constitutive features of the genre of the parcha are revealed. Genre varieties of parcha in the work of R. Gabdulkhakova are characterized, which correspond to two directions of plot movement: from the external to the internal or from the individual to the universal, and two types of narrative-from 1 or 3 persons. Artistic completion in the parcha of the first type is determined by the realization of a certain moral truth arising from the situation personally experienced by the lyrical subject, in the parcha of the second type it is created by the transition from individual phenomena to their summing result. It is concluded that the internal measure of the genre determines the nature of the relationship between the narrative plot and its generalizing "ending". Space-time relations and principles of organization of the subject sphere peculiar to this genre are described. The structure-forming role in the parcha of R. Gabdulkhakova is assigned to the subjective-lyrical beginning in the narrative. The works of the writer manifested both the features of her creative individuality and the typological features of female prose in general with its increased emotionality, autobiography and penetration. Most of R. Gabdulhakova’s miniatures are written in the first person and represent the consciousness of a woman focused on experiencing her loneliness and “cold life”, unrequited love and late repentance, the pain of loss that haunts every person after leaving her mother. Рarcha written in the third person reveal the consciousness of a person who knows about the existence of objective laws and tries to find a personal way out of hopeless situations. Allegorical or symbolic imagery at the same time turns a personal scenario - into a typical, universal human one. In the work of R. Gabdulhakova parcha functions as a synthetic genre, incorporating elements of other genre forms.


2019 ◽  
Vol 7 (2) ◽  
pp. 28 ◽  
Author(s):  
Marek Gruszczyński

The paper discusses methodological topics of bankruptcy prediction modelling—unbalanced sampling, sample bias, and unbiased predictions of bankruptcy. Bankruptcy models are typically estimated with the use of non-random samples, which creates sample choice biases. We consider two types of unbalanced samples: (a) when bankrupt and non-bankrupt companies enter the sample in unequal numbers; and (b) when sample composition allows for different ratios of bankrupt and non-bankrupt companies than those in the population. An imbalance of type (b), being more general, is examined in several sections of the paper. We offer an extended view of the relationship between the biased and unbiased estimated probabilities of bankruptcy—probability of default (PD). A common error in applications is neglecting the possibility of calibrating the PD obtained from a bankruptcy model to the unbiased PD that is population adjusted. We show that Skogsviks’ formula of 2013 coincides with prior correction known for the logit model. This, together with solutions for other binomial models, serves as practical advice for obtaining the calibration of unbiased PDs from popular bankruptcy models. In the final section, we explore sample bias effects on classification.


1976 ◽  
Vol 5 (1) ◽  
Author(s):  
Carol Hagemann-White

AbstractThe author reports her experience of and observations on the teaching of sociology at the Free University of Berlin. She examines the teaching behavior of the instructors, the relationship between colleagues, and those between teachers and students. Certain tendencies in the practice of teaching are viewed as expressing a form of coping by projection with the failures experienced in trying to reform studies, failures that are in fact caused by the unfavorable real conditions at the university. A tendency to make university teaching more like schooling is observed; reasons for this are found in the effects of pressure towards professional competition, which prevents both fruitful cooperation between instructors and genuine communication with students. The additional difficulties experienced by women in teaching are described. In the final section conclusions are drawn in the form of practical suggestions which take account of the actual possibilities of a university with very large numbers of students.


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