Paroles De Silence
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| Author | : Karmen MacKendrick |
| Publisher | : State University of New York Press |
| Total Pages | : 184 |
| Release | : 2001-03-01 |
| Genre | : Philosophy |
| ISBN | : 9780791491102 |
Drawing on philosophy, theology, and literature, from the early Middle Ages to the present, Immemorial Silence traces a series of intertwined ideas. Exploring silence as the absence of language, which is nonetheless inherent in language itself, and eternity as the outside of time, cutting through time itself, the book unfolds a series of connections between these temporal and linguistic themes.
| Author | : Leo M. Carruthers |
| Publisher | : |
| Total Pages | : 262 |
| Release | : 2003 |
| Genre | : English literature |
| ISBN | : |
| Author | : |
| Publisher | : TheBookEdition |
| Total Pages | : 480 |
| Release | : |
| Genre | : |
| ISBN | : 1446133184 |
| Author | : Sophie Bobbé |
| Publisher | : |
| Total Pages | : 135 |
| Release | : 2012-04-27 |
| Genre | : Silence |
| ISBN | : 9782866457754 |
Dans le second numéro d'Esquisse(s), chaque auteur laisse le silence apparaître, résonner, interroger, créer, témoigner, subir, jouer. Le silence se décline au pluriel des silences habités par la rumeur contrariée des paroles tues, attendues et non prononcées, il s'entend également au singulier d'un poème murmuré, et dans l'insistance d'une phrase musicale Le silence s'offre à l'intime de la remémoration, dramatise la scène publique d'une manifestation dite silencieuse, approfondit l'échange des regards au creux des salles obscures habitées des ombres fugitives du cinématographe, il amplifie et démultiplie la gestuelle de la marionnette Le silence scande une promenade rêvée, rythme une rencontre improbable et passagère avec des auteurs aimés, il est le lieu où peut résonner la voix de " fin silence " de la parole divine, il est ce passage obligé pour que la voix du témoin enfin s'élève, abandonne le fardeau solitaire de l'éprouvé pour le partage dans la parole Le silence lutte pour se faire entendre par delà le désert, lutte pour ne pas sombrer dans le bruit et la fureur de l'univers psychotique, il vibre jusqu'à l'invention du geste, et transmet l'onde de liberté que l'écriture de Beckett fait éclore par delà le ressassement et l'emprise.
| Author | : Silvia Montiglio |
| Publisher | : Princeton University Press |
| Total Pages | : 327 |
| Release | : 2010-05-17 |
| Genre | : History |
| ISBN | : 1400823765 |
In ancient Greece, the spoken word connoted power, whether in the free speech accorded to citizens or in the voice of the poet, whose song was thought to know no earthly bounds. But how did silence fit into the mental framework of a society that valued speech so highly? Here Silvia Montiglio provides the first comprehensive investigation into silence as a distinctive and meaningful phenomenon in archaic and classical Greece. Arguing that the notion of silence is not a universal given but is rather situated in a complex network of associations and values, Montiglio seeks to establish general principles for understanding silence through analyses of cultural practices, including religion, literature, and law. Unlike the silence of a Christian before an ineffable God, which signifies the uselessness of words, silence in Greek religion paradoxically expresses the power of logos--for example, during prayer and sacrifice, it serves as a shield against words that could offend the gods. Montiglio goes on to explore silence in the world of the epic hero, where words are equated with action and their absence signals paralysis or tension in power relationships. Her other examples include oratory, a practice in which citizens must balance their words with silence in very complex ways in order to show that they do not abuse their right to speak. Inquiries into lyric poetry, drama, medical writings, and historiography round out this unprecedented study, revealing silence as a force in its own right.
| Author | : David Patterson |
| Publisher | : University Press of Kentucky |
| Total Pages | : 277 |
| Release | : 2021-12-14 |
| Genre | : Literary Criticism |
| ISBN | : 0813194156 |
"In the Holocaust novel, silence is always a character, and the word is always its subject matter." So writes David Patterson in this profound and original study of more than thirty important writers. Contrary to existing views, he argues, the Holocaust novel is not an attempt to depict an unimaginable reality or an ineffable horror. It is, rather, an endeavor to fetch the word from silence and restore it to meaning, to resurrect the human soul, to regenerate the relation between the self and God, the self and other, the self and itself. This book is less a critical study in the usual sense than an impassioned meditation on the deeper sources of the Holocaust novel. Among the authors examined are Elie Wiesel, Arnost Lustig, Aharon Appelfeld, Katzetnik 135633, Primo Levi, Yehuda Amichai, Piotr Rawicz, A. Anatoli, Saul Bellow, I.B. Singer, Anna Langfus, Rachmil Bryks, and Ilse Aichinger. The Shriek of Silence is a first in several respects: the first to examine the Holocaust novels in their original languages, the first to articulate a theoretical basis for its approach, and the first phenomenological investigation—one that attempts to penetrate the process of creation for these novelists. Organized along conceptual lines, the book examines "the word in exile," the themes of death of the father and the child, transformations of the self, and the implications of the reader. Its philosophical foundations are Rosenzweig, Buber, Neher, and Levinas. Its critical approach is shaped by Bakhtin. The novelists of the Holocaust, in witnessing through their words, regain their voices and in so doing are reborn. By probing the depths of their struggle, Patterson's study draws us too toward a higher understanding, perhaps even our own rebirth.
| Author | : Craig Dworkin |
| Publisher | : MIT Press |
| Total Pages | : 228 |
| Release | : 2015-01-30 |
| Genre | : Art |
| ISBN | : 0262527553 |
Close readings of ostensibly “blank” works—from unprinted pages to silent music—that point to a new understanding of media. In No Medium, Craig Dworkin looks at works that are blank, erased, clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say. Examined closely, these ostensibly contentless works of art, literature, and music point to a new understanding of media and the limits of the artistic object. Dworkin considers works predicated on blank sheets of paper, from a fictional collection of poems in Jean Cocteau's Orphée to the actual publication of a ream of typing paper as a book of poetry; he compares Robert Rauschenberg's Erased De Kooning Drawing to the artist Nick Thurston's erased copy of Maurice Blanchot's The Space of Literature (in which only Thurston's marginalia were visible); and he scrutinizes the sexual politics of photographic representation and the implications of obscured or obliterated subjects of photographs. Reexamining the famous case of John Cage's 4'33”, Dworkin links Cage's composition to Rauschenberg's White Paintings, Ken Friedman's Zen for Record (and Nam June Paik's Zen for Film), and other works, offering also a “guide to further listening” that surveys more than 100 scores and recordings of “silent” music. Dworkin argues that we should understand media not as blank, base things but as social events, and that there is no medium, understood in isolation, but only and always a plurality of media: interpretive activities taking place in socially inscribed space.
| Author | : Michael Bishop |
| Publisher | : Rodopi |
| Total Pages | : 228 |
| Release | : 2002 |
| Genre | : Literary Criticism |
| ISBN | : 9789042009837 |
This book finds its origin partly in the International Colloquium on French and Francophone Literature in the 1990's at Dalhousie University, September 1998. number of the papers, since reworked, take their place here alongside other studies subsequently invited. They form a broad and varyingly focused set of cogent and pertinent appraisals of very recent French, and francophone, poetic practice and its shifting, becoming conceptual underpinnings.
| Author | : Madelena Gonzalez |
| Publisher | : Cambridge Scholars Publishing |
| Total Pages | : 430 |
| Release | : 2012-03-15 |
| Genre | : Performing Arts |
| ISBN | : 1443838373 |
All over the world, in the most varied contexts, contemporary theatre is a rich source for increasing the visibility of communities generally perceived by others as minorities, or those who see themselves as such. Whether of a linguistic, ethnic, political, social, cultural or sexual nature, the claims of minorities enjoy a privileged medium in theatre. Perhaps it is because theatre itself is linked to the notions of centre and periphery, conformism and marginality, domination and subjugation – notions that minority theatre constantly examines by staging them – that it is so sensitive to the issues of troubled and conflicted identity and able to give them a universal resonance. Among the questions raised by this volume, is that of the relationship between the particular and the more general aims of this type of theatre. How is it possible to speak to everyone, or at least to the majority, when one is representing the voice of the few? Beyond such considerations, urgent critical examination of the function and aims of minority theatre is needed. To what kind of public is such drama addressed? Does it have an exemplary nature? How is it possible to avoid the pitfalls and the dead end of ghettoization? Certain types of audience-specific theatre are examined in this context, as, for example, theatre as therapy, theatre as an educational tool, and gay theatre. Particular attention is paid to the claims of minorities within culturally and economically dominant western countries. These are some of the avenues explored by this volume which aims to answer fundamental questions such as: What is minority theatre and why does theatre, a supposedly bourgeois, if not to say elitist, art form, have such affinity with the margins? What if, particularly in contemporary society, the theatre as a form, were merely playing out its fundamentally marginal status? The authors of these essays show how different forms of minority theatre can challenge cultural consensus and homogenization, while also aspiring to universality. They also address the central question of the place and status of apparently marginal forms of theatre in the context of globalization and in doing so re-examine theatre itself as a genre. Not only do they illustrate how minority theatre can challenge the dominant paradigms that govern society, but they also suggest their own more flexible and challenging frameworks for theatrical activity.
| Author | : James K. Lyon |
| Publisher | : JHU Press |
| Total Pages | : 272 |
| Release | : 2006-02-22 |
| Genre | : Literary Criticism |
| ISBN | : 0801889138 |
This work explores the troubled relationship and unfinished intellectual dialogue between Paul Celan, regarded by many as the most important European poet after 1945, and Martin Heidegger, perhaps the most influential figure in twentieth-century philosophy. It centers on the persistent ambivalence Celan, a Holocaust survivor, felt toward a thinker who respected him and at times promoted his poetry. Celan, although strongly affected by Heidegger's writings, struggled to reconcile his admiration of Heidegger's ideas on literature with his revulsion at the thinker's Nazi past. That Celan and Heidegger communicated with each other over a number of years, and in a controversial encounter, met in 1967, is well known. The full duration, extent, and nature of their exchanges and their impact on Celan's poetics has been less understood, however. In the first systematic analysis of their relationship between 1951 and 1970, James K. Lyon describes how the poet and the philosopher read and responded to each other's work throughout the period. He offers new information about their interactions before, during, and after their famous 1967 meeting at Todtnauberg. He suggests that Celan, who changed his account of that meeting, may have contributed to misreadings of his poem "Todtnauberg." Finally, Lyon discusses their two last meetings after 1967 before the poet's death three years later. Drawing heavily on documentary material—including Celan's reading notes on more than two dozen works by Heidegger, the philosopher's written response to the poet's "Meridian" speech, and references to Heidegger in Celan's letters—Lyon presents a focused perspective on this critical aspect of the poet's intellectual development and provides important insights into his relationship with Heidegger, transforming previous conceptions of it.
