It also discusses the central critical issues raised by electronic literature, pointing out that there is significant overlap with the print tradition. At the same time, the essay argues that the practices, texts, procedures, and processual nature of electronic literature require new critical models and new ways of playing and interpreting the works. Because this essay is the first systematic attempt to survey and summarize the fast-changing field of electronic literature, artists, designers, writers, critics, and other stakeholders may find it useful as an overview, with emphasis on recent creative and critical works. Katherine Hayles opens the aperture more widely and the angle differs slightly as well.
The past year has seen a flood of articles commemorating the end of the Cold War, and the fact that "peace" seems to be breaking out in many regions of the world. Most of these analyses lack any larger conceptual framework for distinguishing between what is essential and what is contingent or accidental in world history, and are predictably superficial.
Gorbachev were ousted from the Kremlin or a new Ayatollah proclaimed the millennium from a desolate Middle Eastern capital, these same commentators would scramble to announce the rebirth of a new era of conflict.
And yet, all of these people sense dimly that there is some larger process at work, a process that gives coherence and order to the daily headlines. The twentieth century saw the developed world descend into a paroxysm of ideological violence, as liberalism contended first with the remnants of absolutism, then bolshevism and fascism, and finally an updated Marxism that threatened to lead to the ultimate apocalypse of nuclear war.
But the century that began full of self-confidence in the ultimate triumph of Western liberal democracy seems at its close to be returning full circle to where it started: The triumph of the West, of the Western idea, is evident first of all in the total exhaustion of viable systematic alternatives to Western liberalism.
In the past decade, there have been unmistakable changes in the intellectual climate of the world's two largest communist countries, and the beginnings of significant reform movements in both.
But this phenomenon extends beyond high politics and it can be seen also in the ineluctable spread of consumerist Western culture in such diverse contexts as the peasants' markets and color television sets now omnipresent throughout China, the cooperative restaurants and clothing stores opened in the past year in Moscow, the Beethoven piped into Japanese department stores, and the rock music enjoyed alike in Prague, Rangoon, and Tehran.
What we may be witnessing is not just the end of the Cold War, or the passing of a particular period of postwar history, but the end of history as such: This is not to say that there will no longer be events to fill the pages of Foreign Affair's yearly summaries of international relations, for the victory of liberalism has occurred primarily in the realm of ideas or consciousness and is as yet incomplete in.
But there are powerful reasons for believing that it is the ideal that will govern the material world in the long run. To understand how this is so, we must first consider some theoretical issues concerning the nature of historical change.
Its best known propagator was Karl Marx, who believed that the direction of historical development was a purposeful one determined by the interplay of material forces, and would come to an end only with the achievement of a communist utopia that would finally resolve all prior contradictions.
But the concept of history as a dialectical process with a beginning, a middle, and an end was borrowed by Marx from his great German predecessor, Georg Wilhelm Friedrich Hegel.
For better or worse, much of Hegel's historicism has become part of our contemporary intellectual baggage. The notion that mankind has progressed through a series of primitive stages of consciousness on his path to the present, and that these stages corresponded to concrete forms of social organization, such as tribal, slave-owning, theocratic, and finally democratic-egalitarian societies, has become inseparable from the modern understanding of man.
New Criticism. A literary movement that started in the late s and s and originated in reaction to traditional criticism that new critics saw as largely concerned with matters extraneous to the text, e.g., with the biography or psychology of the author or the work's relationship to literary history. Paul Kingsnorth is a writer and poet living in Cumbria, England. He is the author of several books, including the poetry collection Kidland and his fictional debut The Wake, winner of the Gordon Burn Prize and the Bookseller Book of the Year Award. Kingsnorth is the cofounder and director of the Dark Mountain Project, a network of writers, artists, and thinkers. This article may rely excessively on sources too closely associated with the subject, potentially preventing the article from being verifiable and neutral. Please help improve it by replacing them with more appropriate citations to reliable, independent, third-party sources. (October ) (Learn how and when to remove this template message).
Hegel was the first philosopher to speak the language of modern social science, insofar as man for him was the product of his concrete historical and social environment and not, as earlier natural right theorists would have it, a collection of more or less fixed "natural" attributes.
The mastery and transformation of man's natural environment through the application of science and technology was originally not a Marxist concept, but a Hegelian one.
Unlike later historicists whose historical relativism degenerated into relativism tout court, however, Hegel believed that history culminated in an absolute moment - a moment in which a final, rational form of society and state became victorious.
It is Hegel's misfortune to be known now primarily as Marx's precursor; and it is our misfortune that few of us are familiar with Hegel's work from direct study, but only as it has been filtered through the distorting lens of Marxism.
In France, however, there has been an effort to save Hegel from his Marxist interpreters and to resurrect him as the philosopher who most correctly speaks to our time. For as early as this Hegel saw in Napoleon's defeat of the Prussian monarchy at the Battle of Jena the victory of the ideals of the French Revolution, and the imminent universalization of the state incorporating the principles of liberty and equality.
While there was considerable work to be done after - abolishing slavery and the slave trade, extending the franchise to workers, women, blacks, and other racial minorities, etc.Bachmann belongs to a generation of Christian conservatives whose views have been shaped by institutions, tracts, and leaders not commonly known to secular Americans, or even to most Christians.
Colophon · The template for the Web edition of this document was marked up by Nick Montfort in valid XHTML with a valid CSS2 style sheet. It is screen-friendly and printer-friendly; a style sheet for printer output is provided which browsers should use automatically when users print the document.
Ernst Haas: Color Correction: [William Ewing, Phillip Prodger, Ernst Haas] on pfmlures.com *FREE* shipping on qualifying offers. Ernst Haas is one of the best-known, most prolific and most published photographers of the 20th century. He is famed for his vibrant color style. Critical Issues Forum.
The Critical Issues Forum is a series of occasional reports addressing progessive racial justice issues in philanthropy. Equivalence relates the visual properties of photos from different formats based on the focal length and aperture of the lens.
Neither the focal length nor the relative aperture of a lens change as a function of sensor (for example, a 50mm f/ lens is a 50mm f/ lens, regardless of the sensor behind the lens).
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