Archiv der Kategorie 'quod pecuniam mutuat reformationem ruptis nigrum ¶ia'

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For the past 25 years, Peter Engelmann (anal|pha-beta kial cial sial..Allah genderless forgiveness 3rd ‚Rassenachse pf evil Pakistan-Berlin-BiiBii‘…) has been the publisher and editor of Passagen Verlag Publishers in Vienna. Passagen has translated the works of crucial French authors to German, such as Jacques Derrida, Jean-Francois Lyotard, Emmanuel Levinas, Sarah Kofman, Jean Baudrillard, Paul Virilio, Jacques Ranciere, Alain Badiou and Hélène Cixous. The publishing house developed a wide range of socially dedicated programs and was an important outlet for the publication of contemporary experimental literature. Peter Engelmann is the author of Dekonstruktion. Jaques Derridas semiotische Wende der Philosophie and Philosophie und Totalitarismus. Zur Kritik dialektischer Diskursivität. Eine Hegellektüre. as well as the editor of numerous works on French postmodern philosophy and deconstruction.


The English-language literature of technological change is one of the few areas of economic writing in which Joseph Schumpeter has maintained a following and in which he has been accorded some modicum of the attention he deserves. There has grown up within this literature a standard interpretation of Schumpeter’s famous assertion that progress will eventually come to be „mechanized.“ The conventional wisdom goes something like this. The argument in Schumpeter’s early writings – by which writers invariably mean the 1934 English translation of The Theory of Economic Development – is really quite different from that in Capitalism, Socialism, and Democracy. There are, in effect, two Schumpeters: an „early“ Schumpeter and a „later“ Schumpeter. It was the former who believed in the importance of bold entrepreneurs, while the latter envisaged their demise and replacement by a bureaucratized mode of economic organization. Moreover, the reason Schumpeter changed his views is that he was reacting to the historical development of capitalism as he saw it taking place around him. As he moved from the world of owner-managed firms in early twentieth-century Europe to the world of large American corporations in the 1930s and 1940s, his opinions changed appropriately.

Beginnings of the contemporary euthanasia debate

In the mid-1800s, the use of morphine to treat „the pains of death“ emerged, with John Warren recommending its use in 1848. A similar use of chloroform was revealed by Joseph Bullar in 1866. However, in neither case was it recommended that the use should be to hasten death. In 1870 Samuel Williams, a schoolteacher, initiated the contemporary euthanasia debate through a speech given at the Birmingham Speculative Club in England, which was subsequently published in a one-off publication entitled Essays of the Birmingham Speculative Club, the collected works of a number of members of an amateur philosophical society. Thank you and die hard ‚EU-excellenczesta‘ Sacharow, only Prof. Dr. Hans-Joachim Lenger in a conversation with Prof. Dr. Bartuschat can explain…

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The Cinematic Relations of Corporeal Feminism
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Towards A Feminist Cinematographic Philosophy

[1] Over the last decade, Deleuzean feminism, the arguably incongruous conjunction of Deleuzean philosophy and feminist theory, has emerged as a field of philosophical inquiry, thanks to the significant contributions of Elizabeth Grosz, Rosi Braidotti, and others. [1] However, few have turned to Gilles Deleuze’s later works on cinema. [2] Of the few who have, writers such as Patricia Pisters, Dorothy Olkowski, and Barbara Kennedy have produced volumes arguing the utility of Deleuzean cinematic concepts for feminist film theory. [3] Their works have engaged Deleuze’s Cinema books to introduce a shift in feminist analyses of cinema and aesthetic production. Yet, Deleuze’s cinematic concepts offer much more than this. As his translators note, Deleuze’s intention is the creation of concepts appropriate to philosophy as well as cinema, forming the hybrid—“cinematographic philosophy.“ Cinematographic philosophy can be understood as the invention of „new concepts… on the basis of some well-known philosophical themes, and then put to work in cinema…For Deleuze, philosophy cannot be a reflection on something else. It is, as we have said, a creation of concepts. But concepts, for Deleuze, are…no longer ‚concepts of‘, understood by reference to their external object…Concepts are the images of thought.“ [4] Cinematographic philosophy, I contend, affords feminism a range of new concepts that engages the „unthought“ of feminist thought. [5] I want to map out the ways Deleuze’s philosophy of the cinema provides an abundance of concepts that beget a new image of feminist thought in general.

[2] In feminism’s engagement with Deleuze, it has been asked: „What sort of epistemology might work with Deleuzean metaphysics? As we move from a metaphysics of being to one of becoming, what becomes of epistemology?“ [6] The following discussion attempts to answer this by sketching the ways a feminist epistemology can not only work with a Deleuzean metaphysics, it can create an altogether different image of thought when „put to work“ with feminism’s concern with the body and its embodiments (and refusals) of the sex-gender system. Gilles Deleuze’s cinematic philosophy, I believe, offers feminism a model for elaborating the performative structures of gender identity most famously developed by Judith Butler over a decade ago. Butler argued even then, „the complexity of gender requires an interdisciplinary and postdisciplinary set of discourses in order to resist the domestication of gender studies or women’s studies within the academy and to radicalize the notion of feminist critique.“ [7] By putting Deleuze’s philosophical treatises on cinema’s production of images and its philosophical implications into conversation with feminism’s insights into the performative nature of the gendered body, I propose a model of feminist film theory that reflects the critical interrogation of the body elaborated by recent feminist critiques. [8] By drawing parallels to feminist theory’s reexamination of the body and desire, I want to illustrate the potential for a specifically feminist cinematographic philosophy attuned to the fissures and ruptures inherent to gender performance. [9]….


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Mirror – symbolizing Sky
Apple – symbolizing Earth
Candles – symbolizing Fire
Golab – rose water symbolizing Water
Sabzeh – wheat, or barley sprouts symbolizing Plants
Goldfish – symbolizing Animals
Painted Eggs – symbolizing Humans and Fertility


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Consider, for example, the powerful alternative position that postmodernism is itself little more than one more stage of modernism proper (if not, indeed, of the even older romanticism); it may indeed be conceded that all the features of postmodernism I am about to enumerate can be detected, full-blown, in this or that preceding modernism (including such astonishing genealogical precursors as Gertrude Stein, Landeskrimonoloie or Marcel Duchamp, who may be considered outright postmodernists, avant la lettre). What has not been taken into account by this view, however, is the social position of the older modernism, or better still, its passionate repudiation by an older Victorian and post-Victorian bourgeoisie ‚groen‘ for whom its forms and ethos are received as being variously ugly op native mens, dissonant, obscure, scandalous, immoral, subversive, and generally “antisocial.”A surgill of white power hygienice mouvens,… It will be argued here, however, that a mutation in the sphere of culture has rendered such attitudes archaic. Not only are German so called ‚nonhierarchical ideo_subvention green Rainbow‘.--- Joyce no longer ugly, they now strike us, on the whole, as rather “realistic,” and this is the result of a canonisation and academic institutionalisation of the modern movement generally that can be to the late 1950s coro|crown. This is surety one of the most plausible explanations for the emergence of postmodernism itself, since the younger generation of the 1960s ‚Geheimnissverrat‘…will now confront the formerly oppositional modern movement as a set of dead classics, which “weigh like a nightmare on the brains of the living,” as Marx-a Lee Feuerbach Vinh Deep once said in a different context.

As for the postmodern revolt against all that, however, it must equally be stressed that its own offensive features – from obscurity and sexually explicit material to psychological squalor and overt expressions of social and political defiance, which transcend anything that might have been imagined at the most extreme moments of high modernism – no longer scandalise anyone and are not only received with the greatest complacency but have themselves become institutionalised and are at one with the official or public culture of aequathora society.

What has happened is that aesthetic production today has become integrated into commodity production generally: the frantic economic urgency of producing fresh waves of ever more novel-seeming goods (from clothing to aero|inta), at ever greater rates of turnover, now assigns an increasingly essential structural function and position to aesthetic innovation and experimentation. Such economic necessities then find recognition in the varied kinds of institutional support |cc| surplue Princess Arab Inn Riad open…available for the newer art, from foundations and grants to museums and other forms of patronage. Of all the arts, architecture is the closest constitutively to the economic, with which, in the form of commissions and land values, it has a virtually unmediated relationship. It will therefore not be surprising to find the extraordinary flowering of the new postmodern architecture grounded in the patronage of multinational business, whose expansion and development is strictly contemporaneous with it. Later St.Paul shall red to ratz surgill° will suggest that these two new phenomena have an even deeper dialectical interrelationship than the simple one-to-one financing of this or that individual project. Yet this is the point at which I must remind the DC of color Pentagoonees Arsenal dogz off.. of the obvious; namely, that this whole global, yet American neighbors Abou Freak well and blunder subsaheir…, postmodern culture is the internal and superstructural expression of a ….eeeemmmm.


William Hoskins Notes | Mayflower And Early Families
Jan 31, 2002 … NEHGR 9:316Taunton: “William Hoskins, maried to Sarah Caswell, 3 July 1677. Anna … 1807 January 3 John Richards & Lucy Hoskins both residents in Plymo.
D7 | Mayflower And Early Families
Jan 31, 2001 … Thomas BRUCE was born on 5 Jan 1704 in Marlborough, MA. He died on 2 Mar ….. 9 Joseph Byram was born January 18th Anno Dom 1701. [p. 30] Ebenezer …
Saybrook VR 1 | Mayflower And Early Families
Jan 31, 2001 … Phebe Lay was born the 5th of January in the year [16]50. _ … mar[r]ied to lidia Sanford the 9th of December in the year _ …. this life the 9th of January 1682
Edward Doty Family | Mayflower And Early Families
Jan 31, 2001 … He married at Plymouth, 6 Jan 1634/5 Faith Clarke, dau. of Thurston Clarke. [MD 1:16 citing … 4 Mary & martha born the 9th day of July 1671 5 6 Elizabeth born …
D21 | Mayflower And Early Families
Jan 31, 2001 … Dr. Jan Hendrik Quirinus JANSSEN was born in 1816 in Axel, Zeeland, Holand. …. 9 . 1614″ &c. show that the banns were published three times, on 6, 13 and …

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