IF 0.1 4区社会学

Telos Pub Date : 2021-03-20 DOI: 10.3817/0321194126

Ayaan Hirsi Ali

引用次数: 0

Solitaire/Solidaire: Camus, Contemplation, and the Vita Mixta 接龙/接龙:加缪，沉思和混合生活

IF 0.1 4区社会学

Telos Pub Date : 2021-01-01 DOI: 10.3817/0921196031

S. Matthew

引用次数: 0

Is the Parish Church Worth Saving? 教区教堂值得拯救吗?

IF 0.1 4区社会学

Telos Pub Date : 2021-01-01 DOI: 10.3817/0921196145

A. Milbank

引用次数: 0

Trump l’Oeil: Ceci N’est Pas un Coup d’État 特朗普的眼睛:这不是政变

IF 0.1 4区社会学

Telos Pub Date : 2021-01-01 DOI: 10.3817/0321194163

Mark G. E. Kelly

{"title":"Trump l’Oeil: Ceci N’est Pas un Coup d’État","authors":"Mark G. E. Kelly","doi":"10.3817/0321194163","DOIUrl":"https://doi.org/10.3817/0321194163","url":null,"abstract":"On January 6, 2021, Trumpism imploded. Following the general election of November 3, 2020, a grassroots movement had staged rallies across the nation to contest the election result, while Trump and his backers mounted a largely farcical parallel legal campaign to overturn it. On January 6, Congress assembled to finalize Joe Biden’s election as the forty-sixth U.S. president. For the first time, Trump himself now personally organized and led a rally targeted at overturning the putative electoral result. Urged on by the president, his supporters marched on the U.S. Capitol. Once there, they entered the Capitol building. The Capitol Police were overwhelmed by the massive crowd, and windows were broken to gain access. In places, it seems police simply stood aside and even waved protestors through open doors, contrary to the rhetorical designation of the event as a “storming” or “siege” of the Capitol. Some protestors even entered the inner sanctum, the floor of the Senate. Some committed minor acts of vandalism. Others wandered around like tourists, staying within velvet ropes and reporting later that they believed they had permission to be there. The principal act of violence that occurred was the fatal shooting of a female protestor by a security officer.1","PeriodicalId":43573,"journal":{"name":"Telos","volume":"11 1","pages":"163 - 165"},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74611231","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The City in Early Alternative Arab Cinema 早期另类阿拉伯电影中的城市

IF 0.1 4区社会学

Telos Pub Date : 2021-01-01 DOI: 10.3817/1221197057

N. Yaqub

引用次数: 0

On the Question of Moderate Islam 论温和伊斯兰教问题

IF 0.1 4区社会学

Telos Pub Date : 2021-01-01 DOI: 10.3817/0321194117

Kacem El Ghazzali

引用次数: 0

Turmoil in Egypt: Faith, Nationalism, and the Apparent Inadequacies of Liberalism 埃及动乱:信仰、民族主义和自由主义的明显不足

IF 0.1 4区社会学

Telos Pub Date : 2021-01-01 DOI: 10.3817/0321194111

Beau Mullen

引用次数: 0

The Consequences of Afghanistan: Comments on Girard 阿富汗的后果:对吉拉德的评论

IF 0.1 4区社会学

Telos Pub Date : 2021-01-01 DOI: 10.3817/0921196163

R. Berman

引用次数: 0

The City in Flux: Toward an Urban Topology of Hong Kong Cinema 变迁中的城市:香港电影的城市拓扑图

IF 0.1 4区社会学

Telos Pub Date : 2021-01-01 DOI: 10.3817/1221197035

V. Lee

{"title":"The City in Flux: Toward an Urban Topology of Hong Kong Cinema","authors":"V. Lee","doi":"10.3817/1221197035","DOIUrl":"https://doi.org/10.3817/1221197035","url":null,"abstract":"Whether appearing as a dramatic setting or as a “protagonist” in itself, Hong Kong’s urban space has inspired the imagination of filmmakers of different generations and artistic orientations. If architecture is the primary denominator of a city’s spatial identity,1 the cinema offers a repertoire of visual vocabularies through which this identity is articulated, contested, and transformed in time. “Space” here connotes both the diegetic configuration of setting and locale, and the non-diegetic realm of identity-making invoked by the cinematic medium. Space has also been used as a conceptual tool in critical discourse on the dynamics between the cinematic imagination and the urban space.2 Its long tradition of martial arts films and costume dramas notwithstanding, Hong Kong cinema displays an inherently urban quality that speaks through its subject matter, fictional personae, and the spatial aesthetics that have become an imprint of “Hong Kong-made films.” While critical attention to the relationship between the cinema and urban space tends to favor popular action films from the 1980s and afterward, filmmakers’ self-conscious engagement with the urban space can be traced further back. The black-and-white films of the 1950s and 1960s, for instance, frequently insert location shots at the beginning to authenticate the predominantly studio setting. The most commonly used scenes are panoramic views of high-rise buildings, motorways, rail stations, and different types of modern transportation. Mostly appearing in the credit sequence, these shots display an inner logic that amounts to a self-narrative of the city that varies from a critical self-distancing from the capitalist city in left-wing films to a celebratory embrace of capitalist modernity in right-wing films.3 The symbolic reinvention of the urban space as an experiential realm of identity-making, therefore, has been a leitmotif in Hong Kong films for a much longer time than it is commonly assumed.","PeriodicalId":43573,"journal":{"name":"Telos","volume":"118 1","pages":"35 - 55"},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79538030","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Disputations from the Damaged City: Spike Lee’s If God Is Willing and da Creek Don’t Rise (2010) and the Taking Place of Civil Society in Post-Katrina New Orleans 受损城市的争论:斯派克·李的《如果上帝愿意》和《河不涨》(2010)以及卡特里娜飓风后新奥尔良市民社会的发生

IF 0.1 4区社会学

Telos Pub Date : 2021-01-01 DOI: 10.3817/1221197101

J. Fisher

{"title":"Disputations from the Damaged City: Spike Lee’s If God Is Willing and da Creek Don’t Rise (2010) and the Taking Place of Civil Society in Post-Katrina New Orleans","authors":"J. Fisher","doi":"10.3817/1221197101","DOIUrl":"https://doi.org/10.3817/1221197101","url":null,"abstract":"In Spike Lee’s celebrated documentary about Hurricane Katrina and its aftermath, When the Levees Broke: A Requiem in Four Acts (2006), two of the most memorable interviewees recounting their experiences are denoted, somewhat curiously, as “cultural activists.” Although Lee is celebrated as one of the leading U.S. auteurs of the last thirty years—and, without a doubt, its most influential Black feature filmmaker—he considers his documentaries a key part of his oeuvre. Levees, for instance, garnered both numerous prizes and widespread acclaim for documenting the storm, its ambiguous context, and its devastating aftermath.1 In making its eponymous case that it was not the storm but the sadly predictable failure of the levees that devastated the city, the film weaves a broad, and colorful, social and political tapestry by mixing sundry cinematic elements: stock news footage; exterior, often shocking, shots of the city contemporary to the filmmaking (in 2005–6); and stylized interviews, some made on-site and some in front of bright pastel backgrounds that obscure the location of the interview.2 Tellingly, these stylized interviews do not always feature conventional experts like academic historians, scientists/engineers, or local politicians to play the familiar role of documentary’s tried and somewhat true talking heads. Rather, throughout, Lee also offers nonexperts (or nonconventional experts) who recount their experiences during and after the hurricane and subsequent flood. Often these subjects are designated as residents of this or that parish (a county like St. Bernard or Jefferson) or neighborhood (like the Lower Ninth Ward or Pontchartrain Park). But a good number carry the aforementioned title of cultural activist—an unusual moniker underscoring a number of facets of New Orleans, its multifarious municipal traditions, and its pluralistic polities.","PeriodicalId":43573,"journal":{"name":"Telos","volume":"3 1","pages":"101 - 123"},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80178578","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Telos最新文献