Pages Back Matter Pages About this book Introduction Reading Popular Culture in Victorian Print: Belgravia and Sensationalism is a comprehensive study of the whole run of the monthly periodical Belgravia under the direction of Mary Elizabeth Braddon. Only he who works the land or builds houses has a right to them.
In Torzhk the hero meets a man, on his way to Moscow with a letter about allowing an independent Internet portal to function again, free from censorship. In the village of Gorodnya army conscriptions are taking place, which is the reason behind the weeping among the thronging crowd. Mothers, sisters, brides are crying, seeing off their awkward and sickly youth. But not everyone is dissatisfied with his fate. Some of the young men, the healthiest, smirk insolently behind lowered BMW windows. The army is no threat to them. Others, with the rabid gaze of thugs, are happy to escape their problems with the law and the tedium of village life.
In Peshki the hero contemplates an ordinary residential house and is amazed by the poverty that reigns here. A housewife asks him for a packet of Rollton instant soup to feed her child.
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Look at the children of the residents for whom you are responsible. They are practically naked.
The Journey from St. The hero alludes to the fact that this book was given to him by someone from Lomonosov University, with whom he had lunch in Tver. In his book Luzhkov focuses mainly on the topic of the global crisis. The author sets himself a bold task: to determine where the origins of the crisis lie, and to find the path by which Russia can escape from it with minimal losses.
Language rages in its tenacity to break through to reality—for today at last, it seems, there are no more barriers left against it: in tweets from the squares, SMS-es from police vans, re-posts of the hottest news, wiki-leaks, letters against and letters in support—this here is life as it is—naked facts, numbers, tables, info-graphics—maximally effective and useful language. For words are the one thing that we produce ourselves. But the aforementioned bloggers, who have operated with only words for a long time already, appear to continue unifying and dividing the elements of nature in their production activity, likening language to wood, and the word to the axe.
And all these aforementioned tweets and posts are expressions in the public sphere of language, which means that they are already to a varying degree political and literary expressions. But the main thing is that they are capable of circulating without their accompanying author, as blocks of speech—quasibodies—addressing every person they encounter on equal terms, declassifying old hierarchies and simultaneously forming accidental communities, declaring themselves collectives, which with the help of these acts of socialized discourse transform the existing allocated roles, territories, and languages.
But in distinction from real half-fabricated products, the consumption of ideas, affects, and knowledge brings with it the infinite expansion of language and thought, multiplying social and cultural practices. It would seem that the process of post-Fordian labor coincides with its result, that is, the result is not objectified into a product. Paradoxically, intellectual labor produces immaterial, linguistic wares that often do not correspond to the real world at all. The media vehicles of this kind of labor have been degraded to the point of being indistinguishable to the naked eye.
Their mediation is less and less visible but for all that, no less significant. Our gaze slides across the surface of the monitor, words and letters appear and disappear, leaving behind no trace, leaving ephemerality. That very reality, to whose height of effervescence we just ascended, dissolves, not even leaving us with the signifier by means of which it was just subdued. Again the blank page. But only for an instant. To be immediately filled up with life, as it really is.
The main thing is not to stop, not to resist the flow. To live means to communicate. The form is the message. There are no noises in the communication channel. Interference must be eliminated. That boundless network of communication, the additional value of which—be it idea or knowledge—is instantly estranged in favor of the proprietor of the given network. But what can poetry do, whose communicative function in fact gravitates to a minimum? Is it possible that its destiny is to occasionally jump out from the curb of history and to poke sticks into the wheels of the cart of communication?
Or is poetry in essence the temple of language, which can be built apart from the noise of time? Nothing purely poetic—that you could touch and say, yes, this belongs to poetry and to nothing else—exists. The substance of poetry is the very redundancy of the communication, its critical mass, tearing itself up from within and falling into the residue of a new form. But above all, their slippage and new assembly take place in the impersonal medium of language cf.
Poetry senses these gaps and closures in meaning from afar like nothing else. Every lexicon and any phonetics are already nothing but shadows. But the word in its true form always only grazes us. It is that which we are still hoping to say; that which we stubbornly try to hear through the depreciating signs. Only then will existence be manifested as such. To make the journey from form, as a formal search, to method, endowing that search with necessity, conditioned by the impossibility of speaking as before.
After all, anything new that is coming into being has to be described in old language, and only the method—that protocol of the rupture between new and old ways of being—has as its poetic task to give name to those feelings, emotions, and practices that obstinately demand life. The success of the poetic task is by no means guaranteed—the new world is by no means bound to demand precisely these words and not others or make any demands at all of the poet.
The dream inside the poet is encapsulating—it totalizes and leads to catastrophe—but dreams drawn out from the body of the poet, found on the other side of signification, are dream-concepts that possess dis-embodied, deconstructive qualities. The Conceptualists Lev Rubinshtein and Dmitry Prigov thus deconstructed late Soviet ideology: the first washed away all the dream elements, leaving the naked signs to witness their absolute constructedness, while the second in contrast saturated all known space with dreams, which as a result ceased to carry the meaning prescribed by ideology.
In the words of Gilbert Simondon, individuation is never completed: the subject is always the struggle of the individualized with the pre-individualized, the singular with the anonymous-universal. Only by distancing himself from the expression, erasing his traces from the word, renouncing his legal paternity, does the poet offer a form of expression for the new experience, allowing everyone the possibility of sharing that experience and the full range of sensory experiences associated with it. The word ceases to be only the representative agent of a defective action, while the action ceases to be merely an impulse, a motive for the word.
One could argue that the poet, taking on himself tasks that are external to poetry, by that very means betrays her very essence—to strengthen the palpability of signs, concentrating attention on the message as such. But we clarified above that not allowing a dream to enter you does not mean chasing dreams out of your poetry. After all, every thought is the performative of thought, any experience at first takes on form only through expression. This operative writer gives us a convincing example of the functional dependence between correct political tendencies and progressive literary technique that exists under all circumstances.
His mission is not to inform, but to fight; not to play to the public, but to actively engage it in battle. He realizes his mission with the aid of insights, which he procures through his activities. By defending and arguing, the poet comes to occupy a place from which it is possible to survey the borders and discover zones free of the reigning ideologies. If it is necessary, he will penetrate those ideologies and destroy the smoothness of their images and illusions, purveyed by the normalizing instantiations of the language of power, education, and mass media.
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This means that my language is operational, transitively linked to its object; between the tree and myself, there is nothing but my labor, that is to say, an action. Connection and separation—those are the only elements that the human mind detects when analyzing the idea of the production Unlike in modern thought, his words were considered great not because they expressed great thoughts.
Quite the contrary. The hero must without fail be capable of noble words at a crucial time, just as of courageous actions. I am grateful to it for the fact that it once and for all put an end to spiritual security and a livelihood based in cultural revenue.
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Like many others, I feel indebted to the revolution, but bring her gifts that she does not need. Political writing makes every effort to encourage people to certain actions, giving them certain motives for action. In this sense, language is only a means to spread more or less suggestive motifs that guide those in whose souls they act. It is characteristic for this point of view that the relation of language to action, in which the first is not a means for the second, is not taken into account at all. A similar relationship exists as if for the weak in language and writing, brought down to a conventional means, just as for the miserable flawed act, whose source is not in itself, but in some motives that may be spoken or expressed.
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But, no matter in what manifold forms language might detect its impact, it will do so not through the transference of content, but the purest self-disclosure of its dignity and identity. My understanding of the subject and at the same time of politically important style and writing is this: to go towards what is denied to the word; only in the ineffable, absolute night where that sphere of muteness between word and incentive deed opens, can the magic spark run, and their unity lies, equally real.
Media aesthetical research. The first without the second results in pop or propaganda, the second without the first—in a speculative, unfeeling product. In art, the artist may be unselfconscious, revolting, or even reactionary—this is normal, because he directly, honestly, and spontaneously expresses his emotions.
In politics, he tries to put this knowledge about himself and the world into action, so that it all eventually serves absolutely conscious goals: knowledge, enlightenment, and liberation. Mais il ne faut pas s'y tromper. Research on American artists studying in France has tended to represent three modes of inquiry.
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But what is left out by these lines of inquiry? What happens if we look beyond questions of artistic influence in the city and the country and beyond the careers of the big three? If, in addition, we consider the influx of American artists studying and working in France as a cultural practice, with implications on the construction of national identities, what kind of picture emerges?