Qui Parle: Critical Humanities and Social Sciences最新文献

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“Shadow Boxing”: Empty Blows, Practice Steps, and Nature’s Hold “影子拳击”:空拳,练习步骤,和自然的控制
Qui Parle: Critical Humanities and Social Sciences Pub Date : 2016-12-01 DOI: 10.5250/QUIPARLE.25.1-2.0137
Anne-Lise François
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引用次数: 1
All Too Human: A Conversation with Elizabeth Grosz 《凡人:与伊丽莎白·格罗兹的对话
Qui Parle: Critical Humanities and Social Sciences Pub Date : 2016-12-01 DOI: 10.5250/QUIPARLE.25.1-2.0017
E. Grosz, Simone Stirner
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引用次数: 1
Ethics Outside the Human: A Brief Introduction 人类之外的伦理学:简介
Qui Parle: Critical Humanities and Social Sciences Pub Date : 2016-12-01 DOI: 10.5250/QUIPARLE.25.1-2.0001
J. Greenwald
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引用次数: 0
Divisions of Labor: Between Cheah’s Worlds 劳动分工:在Cheah的世界之间
Qui Parle: Critical Humanities and Social Sciences Pub Date : 2016-12-01 DOI: 10.5250/QUIPARLE.25.1-2.0243
R. Srinivasan
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引用次数: 0
Visage/Con: Catherine Breillat and the Antinomies of Sex 面容/骗局:凯瑟琳·布雷拉和性的二律背反
Qui Parle: Critical Humanities and Social Sciences Pub Date : 2016-06-02 DOI: 10.5250/QUIPARLE.24.2.0045
D. Young
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引用次数: 0
Green Shade: Loser Vegetables in Plant Theory 绿荫:植物理论中的失败者蔬菜
Qui Parle: Critical Humanities and Social Sciences Pub Date : 2016-06-02 DOI: 10.5250/QUIPARLE.24.2.0161
Katie Kadue
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引用次数: 0
The Message of the Papillons 蝴蝶的信息
Qui Parle: Critical Humanities and Social Sciences Pub Date : 2016-06-02 DOI: 10.5250/QUIPARLE.24.2.0137
Georges Didi-Huberman, J. Greenwald
{"title":"The Message of the Papillons","authors":"Georges Didi-Huberman, J. Greenwald","doi":"10.5250/QUIPARLE.24.2.0137","DOIUrl":"https://doi.org/10.5250/QUIPARLE.24.2.0137","url":null,"abstract":"To rise up. First off , to raise up one’s fear and cast it off , to throw it far away. Or even to throw it directly in the face of those who hold the power of organizing our fears. This is also to lift up one’s desire. To take it— and with it one’s expansive joy— in order to throw it in the air, in such a way that it disperses through the space that we breathe, the space of others, the space of the public and the political as a whole. There are two images of this— two corollary images— in the praiseworthy and longcensored fi lm by Mikhail Kalatozov, Soy Cuba. These images refer to the popular, and chiefl y student, uprising that terminated in 1956 in the streets of Santiago de Cuba and of Havana. The fi rst image (fi g. 1) is that of a fi reship [un brulot]: one sees some young students throw Molotov cocktails onto the drivein movie screen on which the offi cial images of the dictator Fulgencio Batista are projected. In the past, a “fi reship” designated a ship equipped with fl ammable materials or explosives, designed to collide into an enemy ship and set it ablaze. It now refers to subversive political writings, or even to tracts calling for outright revolt. The other image (fi g. 2) is exactly that of such tracts dispersed by the same student revolutionaries. The papillons (butterfl ies)— as they are oft en called, because of their size as well as their distinction from “placards,” for example— lift toward the clouds, without one yet","PeriodicalId":232457,"journal":{"name":"Qui Parle: Critical Humanities and Social Sciences","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-06-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126945880","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Violence and the Diagram; Or, The Human Centipede 暴力与图解;或者《人体蜈蚣》
Qui Parle: Critical Humanities and Social Sciences Pub Date : 2016-06-02 DOI: 10.5250/QUIPARLE.24.2.0075
E. Brinkema
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引用次数: 2
No Futures (Duras 72/77) 没有期货(Duras 72/77)
Qui Parle: Critical Humanities and Social Sciences Pub Date : 2016-06-02 DOI: 10.5250/QUIPARLE.24.2.0109
M. Crowley
{"title":"No Futures (Duras 72/77)","authors":"M. Crowley","doi":"10.5250/QUIPARLE.24.2.0109","DOIUrl":"https://doi.org/10.5250/QUIPARLE.24.2.0109","url":null,"abstract":"","PeriodicalId":232457,"journal":{"name":"Qui Parle: Critical Humanities and Social Sciences","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-06-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123170828","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
On the Miniature, the Modern, the Metropolis 关于微型,现代,大都会
Qui Parle: Critical Humanities and Social Sciences Pub Date : 2016-06-02 DOI: 10.5250/QUIPARLE.24.2.0171
Simone Stirner
{"title":"On the Miniature, the Modern, the Metropolis","authors":"Simone Stirner","doi":"10.5250/QUIPARLE.24.2.0171","DOIUrl":"https://doi.org/10.5250/QUIPARLE.24.2.0171","url":null,"abstract":"“Whoever leads a solitary life and yet now and then wants to attach himself somewhere,” relates a short text from Franz Kafk a’s collection Contemplation, “will not be able to manage for long without a window looking on to the street.”1 Two decades aft er Kafk a— same language, diff erent locale— Walter Benjamin refl ects in Berlin Childhood around 1900 that nothing has fortifi ed his “own memory so profoundly as gazing into courtyards, one of whose dark loggias, shaded by blinds in the summer, was for [him] the cradle in which the city laid its new citizen.”2 Exactly one century aft er the publication of Baudelaire’s prose poem “Windows,” whose setup resonates with the scene in Kafk a’s text, the section titled “Paysage” in Theodor W. Adorno’s Minima Moralia laments the lack of expression of American streets— and the particular form of perception they produce: “what the hurrying eye has seen merely from the car it cannot retain, and the vanishing landscape leaves no more traces behind than it bears upon itself.”3 As I read through these diff erent small texts, they appear to speak to each other, in their attachment to built environment, through perceptual frames that recall the rectangular shape of a pho-","PeriodicalId":232457,"journal":{"name":"Qui Parle: Critical Humanities and Social Sciences","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-06-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116125663","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
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