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Thresholds of Meaning examines contemporary French narrative and explores two related issues: the centrality within recent French fiction and autofiction of the themes of passage, ritual and liminality; and the thematic continuity which links this work with its literary ancestors of the 1960s and 1970s. Through the close analysis of novels and récits by Pierre Bergounioux, François Bon, Marie Darrieussecq, Hélène Lenoir, Laurent Mauvignier and Jean Rouaud, Duffy demonstrates the ways in which contemporary narrative, while capitalising on the formal lessons of the nouveau roman and drawing upon a shared repertoire of motifs and themes, engages with the complex processes by which meaning is produced in the referential world and, in particular, with the rituals and codes that social man brings into play in order to negotiate the various stages of the human life-cycle. By the application of concepts and models derived from ritual theory and from visual analysis, Thresholds of Meaning situates itself at the intersection of the developing field of literature and anthropology studies and research into word and image.
In recent years, urban uprisings, insurrections, riots, and occupations have been an expression of the rage and desperation of our time. So too have they expressed the joy of reclaiming collective life and a different way of composing a common world. At the root of these rebellious moments lies thresholds'the spaces to be crossed from cities of domination and exploitation to a common world of liberation. Towards the City of Thresholdsis a pioneering and ingenious study of these new forms of socialization and uses of space'self-managed and communal'that passionately revealscities as the sites of manifest social antagonism as well as spatialities of emancipation. Activist and architect Stavros Stavrides describes the powerful reinvention of politics and socialrelations stirring everywhere in our urban world and analyzes the theoretical underpinnings present in these metropolitan spaces and how they might be bridged to expand the commons. What is the emancipatory potential of the city in a time of crisis' What thresholds must be crossed for us to realize this potential' To answer these questions, Stavrides drawspenetrating insight from the critical philosophies of Walter Benjamin, Michel Foucault, and Henri Lefebvre'among others'to challenge the despotism of the political and urban crises ofour times and reveal the heterotopias immanent within them.
Whenever one attempts to write about a philosopher whose native tongue is not English the problem of translations is inevitable. For the sake of simplicity and accuracy we have translated all of our quotations from the German unless otherwise noted. But for the sake of easy reference we have included the page numbers of the English translations as well as the German texts. Because there is a new translation forthcoming, we have not included references to the English translation of Ideen I. Since the German texts are readily available, we did not reproduce them in the footnotes. All quotations translated from Husserl's unpublished manuscripts, however, do include the German text in the footnotes. This work is greatly indebted to the criticism and help of Professor Ludwig Landgrebe, whose support made possible two years at the UniversiHit Koln. Garth Gillan and Lothar Eley also have contributed much to the basic direction ofthis work. Others such as Edward Casey, Claude Evans, Irene Grypari, Don Ihde, Grant Johnson, Martin Lang, J. N. Mohanty, Robert Ray and Susan Wood have been more than helpful in their discussions with me on these topics and in their criticisms of some of the ambiguities of an earlier draft. Likewise a special word of thanks to Reto Parpan whose insightful corrections were most valuable and to Nancy Gifford for her discussions on matters epistemolo gical and for her help in the final preparation of the book.
What is a threshold space? A prelude, an intermediate space, a barrier? Inside or outside? The threshold space is all of these, usually even at the same time. He lives on the spatial ambivalence between opening and closing and at the same time creates the expectation of what is to come. Till Boettger has dealt in teaching and research projects closely with the architectural staging of arrival and reception. His book is a collection of exemplary phenomenological analyzes of spatial transitions in historical and modern cultural buildings by renowned architects. It also develops a methodology to optimize threshold rooms in all construction projects. In addition to a balance that can generate an exciting space, there is also primarily the temporal sequence of experiencing determining. Threshold spaces are shown here in their role as a spatial agent: they receive and bid farewell.
This collection of essays considers the development and meaning of the iconostasis, the screen used in churches to separate the sanctuary from the nave. The contributors approach the history of the icon screen from a variety of disciplines, including art history, theology, and architecture.
Naming What We Know examines the core principles of knowledge in the discipline of writing studies using the lens of “threshold concepts”—concepts that are critical for epistemological participation in a discipline. The first part of the book defines and describes thirty-seven threshold concepts of the discipline in entries written by some of the field’s most active researchers and teachers, all of whom participated in a collaborative wiki discussion guided by the editors. These entries are clear and accessible, written for an audience of writing scholars, students, and colleagues in other disciplines and policy makers outside the academy. Contributors describe the conceptual background of the field and the principles that run throughout practice, whether in research, teaching, assessment, or public work around writing. Chapters in the second part of the book describe the benefits and challenges of using threshold concepts in specific sites—first-year writing programs, WAC/WID programs, writing centers, writing majors—and for professional development to present this framework in action. Naming What We Know opens a dialogue about the concepts that writing scholars and teachers agree are critical and about why those concepts should and do matter to people outside the field.
Reveals how changing ideas about gender and race shaped - and were shaped by - London and its literature.
In Thresholds Marcel Cobussen rethinks the relationship between music and spirituality. The point of departure is the current movement within contemporary classical music known as New Spiritual Music, with as its main representatives Arvo P?, John Tavener, and Giya Kancheli. In almost all respects, the musical principles of the new spiritual music seem to be diametrically opposed to those of modernism: repetition and rest versus development and progress, tradition and familiarity versus innovation and experiment, communication versus individualism and conceptualism, tonality versus atonality, and so on. As such, this movement is often considered as part of the much larger complex called postmodernism. Joining in with ideas on spirituality as presented by Michel de Certeau and Mark C. Taylor, Cobussen deconstructs the classification of the 'spiritual dimensions' of music as described above. Thresholds presents an idea of spirituality in and through music that counters strategies of exclusion and mastering of alterity and connects it to wandering, erring, and roving. Using the philosophy of Martin Heidegger, Georges Bataille, Jean-Fran?s Lyotard, Jacques Derrida and others, and analysing the music of John Coltrane, the mythical Sirens, Arvo P?, and The Eagles (to mention a few), Cobussen regards spirituality as a (non)concept that escapes categorization, classification, and linguistic descriptions. Spirituality is a-topological, non-discursive and a manifestation of 'otherness'. And it is precisely music (or better: listening to music) that induces these thoughts: by carefully encountering, analysing, and evaluating certain examples from classical, jazz, pop and world music it is possible to detach spirituality from concepts of otherworldliness and transcendentalism. Thresholds opens a space in which spirituality can be connected to music that is not commonly considered in this light, thereby enriching the ways of approaching and discussing music. In orde
Consolation of Philosophy (Latin: Consolatio Philosophiae) is a philosophical work by Boethius, written around the year 524. It has been described as the single most important and influential work in the West on Medieval and early Renaissance Christianity, and is also the last great Western work of the Classical Period. Anicius Manlius Severinus Boëthius, commonly called Boethius (c. 480–524 or 525 AD), was a philosopher of the early 6th century. He was born in Rome to an ancient and prominent family which included emperors Petronius Maximus and Olybrius and many consuls. His father, Flavius Manlius Boethius, was consul in 487 after Odoacer deposed the last Western Roman Emperor. Boethius, of the noble Anicia family, entered public life at a young age and was already a senator by the age of 25. Boethius himself was consul in 510 in the kingdom of the Ostrogoths. In 522 he saw his two sons become consuls. Boethius was imprisoned and eventually executed by King Theodoric the Great, who suspected him of conspiring with the Eastern Roman Empire. While jailed, Boethius composed his Consolation of Philosophy, a philosophical treatise on fortune, death, and other issues. The Consolation became one of the most popular and influential works of the Middle Ages.
It has long been a matter of concern to teachers in higher education why certain students ‘get stuck’ at particular points in the curriculum whilst others grasp concepts with comparative ease. What accounts for this variation in student performance and, more importantly, how can teachers change their teaching and courses to help students overcome such barriers? This book examines the difficulties of student learning and offers advice on how to overcome them through course design, assessment practice and teaching methods. It also provides innovative case material from a wide range of institutions and disciplines, including the social sciences, the humanities, the sciences and economics.