Abstract Autopathographie und Autoethnographie werden anhand von Wolfgang Herrndorfs Arbeit und Struktur und Fritz Zorns Mars als primäre und antonyme autobiographische Schreibweisen der Krankheit in ...der Gegenwart bestimmt. Während die Autopathographie
dabei den individuellen Krankheitsprozess, seine Semiotik und den Topos der Autonomie fokussiert, intendiert die Analyse des Krankheitszustands und seiner Kausalität im Fall der Autoethnographie Rückschlüsse auf allgemeingültige soziokulturelle Leiterfahrungen.Based
on Wolfgang Herrndorf’s Arbeit und Struktur and Fritz Zorn’s Mars, autopathography and autoethnography are identified as primary and antonymous autobiographical modes of writing about illness in contemporary literature. While autopathography focuses on the individual
process of disease, its semiotics, and the topos of autonomy, autoethnography analyzes the state of the disease and its causality, intending conclusions about general sociocultural experiences.
This article reconsiders the relationship between Anders Zorn’s (1860–1920) Omnibus paintings. Two largescale versions exist for the Omnibus motif (Omnibus I and Omnibus II), both of which have ...historically been viewed as official works that were exhibited by Zorn during the years 1892–1893. Drawing upon recent technical analyses of the artist’s oil paintings, together with relevant archival sources, a discussion is put forward with the aim of reconfiguring the earlier Omnibus I (1891) version as an initial sketch (esquisse) to the later Omnibus II (1892).
Razprava analizira delo švicarskega avtorja Fritza Zorna Mars, kultno knjigo sedemdesetih let, v kateri pripovedovalec, mlad učitelj iz bogate meščanske družine, le-to in švicarsko družbo obtožuje za ...to, da je po dolgotrajni depresiji zbolel za rakom (za katerim je umrl, še preden je knjiga izšla). V objavo je rokopis priporočal – in zanj napisal obsežen predgovor – takrat že renomirani pisatelj Adolf Muschg, ki je samega sebe označil za hipohondra in veliko pisal o psihosomatskih boleznih, za katerimi boleha sodobni človek, saj svojih stisk ne zmore izraziti drugače. Tudi Fritz Zorn svojo bolezen označi kot psihosomatsko. Toda že Muschg pravi, da je bolezen le motivacija za ustvarjanje, cilj pisanja je zanj vedno estetska ambicija, vendar pa brez bolezni morda ne bi pisal. Isto ugotavlja tudi za avtorja knjige Mars, ki jo je treba brati tudi kot literarno delo in ne le kot kritiko. Analiza pokaže, kako Zorn v izrazito avtobiografsko obarvanem zapisu oriše razvoj svoje psihosomatske bolezni. Na koncu samega sebe označi kot »božji karcinom«, do koder so ga pripeljali na videz srečno otroštvo, mladost in prva službena leta. Celotno knjigo lahko razumemo kot vojno napoved zlagani meščanski družbi, katere žrtev so bili tudi Zornovi »ubogi starši«, kot jim pravi sam.
In 2005, composer John Zorn founded a music venue dedicated to 'the experimental and avant-garde' on New York's Lower East Side, an area known for underground arts but long undergoing reinvestment. ...Music criticism and the social sciences have considered venues that cater to cutting-edge music, but they do not reflect recent studies that challenge a historiographic rift racialising these so-called jazz and non-jazz vanguards. Studies of art in urban areas, meanwhile, have shown how sites disrupt minority communities, but they largely assume race as a stable idea. This article bridges this gap by considering how New York's avant-garde-experimental juncture mediates such accepted racialisations. My ethnography shows how artists and sites mythologise defunct venues as 'central' and 'inclusive' havens and craft an indeterminate racial positioning. I argue that by unsettling putative racialisations-through myth and memory-place making downtown makes space for navigating subjectivities that range from comfort with, to ambivalence about musical and historiographic blackness. I propose the potential of place to interpret how music sites dialogue with race. While definitively acknowledging limits of racial tropes, this approach also employs them strategically to locate meaning about the nature of interracial sociality.
Celotno besedilo
Dostopno za:
BFBNIB, DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
Certain maximum principles can be reformulated to various types of fixed point theorems and conversely, based on Metatheorem due to ourselves. Such principles are Zorn's lemma, Banach contraction ...principle, Nadler's fixed point theorem, Brézis-Browder principle, Caristi's fixed point theorem, Ekeland's variational principle, Takahashi's nonconvex minimization theorem, some others, and their variants, generalizations, or equivalent formulations. Consequently, we have many new theorems equivalent to known results on fixed point, common fixed point, stationary point, common stationary point, and others. We show that such points are all maximal elements of certain ordered sets. Further, we introduce our earlier related works as a history of our Metatheorem.
Purpose of Review
Retinal degenerative diseases have immense socio-economic impact. Studying animal models that recapitulate human eye pathologies aids in understanding the pathogenesis of diseases ...and allows for the discovery of novel therapeutic strategies. Some non-mammalian species are known to have remarkable regenerative abilities and may provide the basis to develop strategies to stimulate self-repair in patients suffering from these retinal diseases.
Recent Findings
Non-mammalian organisms, such as zebrafish and
Xenopus
, have become attractive model systems to study retinal diseases. Additionally, many fish and amphibian models of retinal cell ablation and cell lineage analysis have been developed to study regeneration. These investigations highlighted several cellular sources for retinal repair in different fish and amphibian species. Moreover, major differences in repair mechanisms have been reported in these animal models.
Summary
This review aims to emphasize first on the importance of zebrafish and
Xenopus
models in studying the pathogenesis of retinal diseases and, second, on the different modes of regeneration processes in these model organisms.
We started from the challenge launched by the professor and musicologist Marcel Cobussen in his doctoral thesis “Deconstruction in Music” (2002) and we investigated how the philosophical ...deconstruction promoted by Jacques Derrida is articulated in the context of avant-garde music promoted intensively in recent decades by artist John Zorn. Given that Derrida challenged us to understand that deconstruction applies to not only written texts and discourses, but also to other non-discursive ways of writing such as works of art, cinematography, architecture or music, we tried to explain first what is specific to Derridean deconstruction and philosophical writing and what we mean, in this context, by architectural writing or musical writing. We then followed a concrete example of involvement of deconstruction in architecture in the project of Bernard Tschumi in order to compare and follow more easily the way in which deconstruction is involved in the musical practice of the artist John Zorn. Thus, our challenge was to verify if we can identify, in the compositional and performative musical practice of the artist John Zorn, the same levers of deconstruction that we identified in the analysis of Derridean philosophy and deconstructive architecture. We have therefore identified several ways in which the artist John Zorn deconstructs music in the context of avant-garde music. For example, by transgressing all the boundaries between musical styles and currents, he created a lot of new and surprising musical fusion experiments: very diverse musical styles were hybridized, jazz music, classical music or traditional klezmer music, merged with the extremes of rock, heavy metal, hardcore, noise, atonal music, film music or improvisational experiments. All these musical fusion experiments challenged the artistic community and our way of perceiving music. John Zorn uses practices specific to Derridean deconstruction: he decontextualizes and recontextualizes musical styles and currents, musical pieces and fragments; he resorts to the practice of grafting, hybridization and fusion, building a heterogeneous, fragmented, discontinuous, mobile musical spatiality; he invented a personalized way of composition based on the practice of combinatorial transformations, of combining blocks of sounds that can be disassembled, multiplied, repeated, reconstructed and reassembled into unique musical compositions (they can be deconstructed and reconstructed in the style of Derridean deconstruction, or they can be deterritorialized and reterritorialized like the rhizomatic system of Deleuze and Guattari); he dissolved the classic distinction and hierarchy between composition / improvisation / interpretation by challenging the artists to become co-composers and discover their improvisational potential in a live process of collective musical creation; he transgressed the boundary between music and everything outside of music, between music and noise, given that noise was integrated as another form of sound. We draw the obvious conclusion: just like the philosopher Jacques Derrida, the musician John Zorn transgresses the boundaries of the musical field, the boundaries between musical styles and currents and looks for what escapes our usual frames of composition or reception of music. John Zorn looks for what is completely different in music, looks for the other beyond all musical styles, in the same way that Derrida looks for the other who escapes to philosophical discourses and languages.
This article reconsiders the relationship between Anders Zorn's (1860–1920) Omnibus paintings. Two largescale versions exist for the Omnibus motif (Omnibus I and Omnibus II), both of which have ...historically been viewed as official works that were exhibited by Zorn during the years 1892–1893. Drawing upon recent technical analyses of the artist's oil paintings, together with relevant archival sources, a discussion is put forward with the aim of reconfiguring the earlier Omnibus I (1891) version as an initial sketch (esquisse) to the later Omnibus II (1892).
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