During the COVID-19 pandemic, the tourism sector was sometimes completely shut down. However, the strict measures were relaxed in periods characterized by lower infection rates. In this context, “revenge travelling”, an assumption that people would travel excessively to relieve their pandemic fatigue and compensate for missed holiday trips, was discussed amongst the tourism industry and media. This paper aims to unravel whether “revenge travelling” concerning COVID-19 is a reality or myth. It examines six indicators that constitute the phenomenon amongst students at a German university. Four out of the six indicators did not provide any proof of “revenge travelling” behavior. Tertiary students did not travel more frequently in 2021 than in 2020; they did not spend more on vacations, and COVID-19-related considerations did not change their travel planning. Additionally, only a minority of the students who travelled more often linked this to compensating for missed vacations. Nonetheless, the indicators “travel durations” and “travel destinations” revealed some evidence of travel behavior associated with the phenomenon. In sum, this study argues that COVID-19-related “revenge travelling” is a myth rather than reality.
{"title":"“Revenge Travelling” and COVID-19 – Reality or Myth?","authors":"Sabine Panzer-Krause, Anna Kosoburd","doi":"10.37741/t.72.2.7","DOIUrl":"https://doi.org/10.37741/t.72.2.7","url":null,"abstract":"During the COVID-19 pandemic, the tourism sector was sometimes completely shut down. However, the strict measures were relaxed in periods characterized by lower infection rates. In this context, “revenge travelling”, an assumption that people would travel excessively to relieve their pandemic fatigue and compensate for missed holiday trips, was discussed amongst the tourism industry and media. This paper aims to unravel whether “revenge travelling” concerning COVID-19 is a reality or myth. It examines six indicators that constitute the phenomenon amongst students at a German university. Four out of the six indicators did not provide any proof of “revenge travelling” behavior. Tertiary students did not travel more frequently in 2021 than in 2020; they did not spend more on vacations, and COVID-19-related considerations did not change their travel planning. Additionally, only a minority of the students who travelled more often linked this to compensating for missed vacations. Nonetheless, the indicators “travel durations” and “travel destinations” revealed some evidence of travel behavior associated with the phenomenon. In sum, this study argues that COVID-19-related “revenge travelling” is a myth rather than reality.","PeriodicalId":2,"journal":{"name":"ACS Applied Bio Materials","volume":"44 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140750927","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Economic crises have been demonstrated to have profound consequences on the tourism industry. Insights from previous global economic and financial crises can provide valuable perspectives on the economic crisis accompanying the war in Eastern Europe. Through a survey conducted during the off-peak seasons of 2008, 2009/2010, and 2010/2011, we compared satisfaction with the attributes of the Algarve—a region globally recognized by the 3S’s— before global and domestic crises and after the global crisis. Our findings reveal that the international and domestic crises have not affected the image of the Algarve. However, this observation conceals shifts in how tourists perceive the destination's attributes. The valuation of accommodations and beaches declined between the pre and post-global crises. At the same time, the friendliness of locals and safety were more negatively impacted when comparing tourists’ assessments before the domestic crisis and after the global crisis. Results indicate that price reduction strategies adversely affect tourists’ assessments of the "value for money." This impact is more pronounced for tourists with higher education levels, who employ fewer "slicing" strategies. Furthermore, non-sovereign debt tourists appear to be more dissatisfied with a price reduction policy, possibly due to changes in the composition and quality of the offered packages.
{"title":"Lessons From the Impact of Global and Domestic Economic Crises on Tourists’ Behaviour","authors":"Ana Paula Barreira, Marisa Cesário","doi":"10.37741/t.72.2.2","DOIUrl":"https://doi.org/10.37741/t.72.2.2","url":null,"abstract":"Economic crises have been demonstrated to have profound consequences on the tourism industry. Insights from previous global economic and financial crises can provide valuable perspectives on the economic crisis accompanying the war in Eastern Europe. Through a survey conducted during the off-peak seasons of 2008, 2009/2010, and 2010/2011, we compared satisfaction with the attributes of the Algarve—a region globally recognized by the 3S’s— before global and domestic crises and after the global crisis. Our findings reveal that the international and domestic crises have not affected the image of the Algarve. However, this observation conceals shifts in how tourists perceive the destination's attributes. The valuation of accommodations and beaches declined between the pre and post-global crises. At the same time, the friendliness of locals and safety were more negatively impacted when comparing tourists’ assessments before the domestic crisis and after the global crisis. Results indicate that price reduction strategies adversely affect tourists’ assessments of the \"value for money.\" This impact is more pronounced for tourists with higher education levels, who employ fewer \"slicing\" strategies. Furthermore, non-sovereign debt tourists appear to be more dissatisfied with a price reduction policy, possibly due to changes in the composition and quality of the offered packages.","PeriodicalId":2,"journal":{"name":"ACS Applied Bio Materials","volume":"105 5","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140746913","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study revisited the tourism-led growth hypothesis (TLGH) in the presence of structural breaks using the structural break technique of Ditzen et al. (2021). To estimate the impact of tourism on economic growth along the identified structural breaks, we employed Fixed Effects and Feasible Generalised Least Squares methods. Findings showed four structural break dates (1999, 2004, 2009 and 2014), two of which coincided with the Global Financial Crisis (2008-2009) and the Ebola outbreak (2014). Despite the presence of structural breaks, the TLGH remains valid.
{"title":"Is Tourism-Led-Growth Hypothesis Valid in the Presence of Structural Breaks?","authors":"I. Raifu","doi":"10.37741/t.72.2.11","DOIUrl":"https://doi.org/10.37741/t.72.2.11","url":null,"abstract":"This study revisited the tourism-led growth hypothesis (TLGH) in the presence of structural breaks using the structural break technique of Ditzen et al. (2021). To estimate the impact of tourism on economic growth along the identified structural breaks, we employed Fixed Effects and Feasible Generalised Least Squares methods. Findings showed four structural break dates (1999, 2004, 2009 and 2014), two of which coincided with the Global Financial Crisis (2008-2009) and the Ebola outbreak (2014). Despite the presence of structural breaks, the TLGH remains valid.","PeriodicalId":2,"journal":{"name":"ACS Applied Bio Materials","volume":"134 ","pages":""},"PeriodicalIF":1.7,"publicationDate":"2024-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140750639","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
IF 0.3 Pub Date : 2024-04-01DOI: 10.1162/octo_a_00511
Mark Wigley
Abstract This essay in memory of Anthony Vidler explores the ways in which his obsessive mode of thinking and writing was primarily historiographic and ultimately autobiographical as it reversed itself towards the future. Vidler was not a historian who wrote but a writer who over time produced the effect of being a historian. He was a scholar in reverse, a trained architect and insightful architectural critic fixated on the ongoing legacy, from Plato to the latest digital zealots, of utopian dreams of an idealized architecture that would incubate an equitable society and the dystopian effects of the always unsuccessful attempts to realize those dreams. Vidler portrayed architecture and the social life it supposedly serves as permanently suspended between utopia and dystopia. Colin Rowe, his first tutor at Cambridge University in 1960, triggered this life-long obsession by pointing to Emil Kaufmann's writing about the precocious modernity of enlightenment architects, especially the ideal city imagined in the late 18th century by Claude-Nicolaus Ledoux, symptomatically the only architect referred to by the utopian socialist Charles Fourier. Vidler never let go of Ledoux, continuously reshaping him and an endless chain of architects from the 20th and 21st centuries, starting with Tony Garnier and Le Corbusier. Kaufmann and Rowe haunt all the work, as does Walter Benjamin, whose inversion of history likewise turned on the relationship between Fourier's philosophy and a specific architectural typology.
{"title":"Anthony Vidler in Reverse","authors":"Mark Wigley","doi":"10.1162/octo_a_00511","DOIUrl":"https://doi.org/10.1162/octo_a_00511","url":null,"abstract":"Abstract This essay in memory of Anthony Vidler explores the ways in which his obsessive mode of thinking and writing was primarily historiographic and ultimately autobiographical as it reversed itself towards the future. Vidler was not a historian who wrote but a writer who over time produced the effect of being a historian. He was a scholar in reverse, a trained architect and insightful architectural critic fixated on the ongoing legacy, from Plato to the latest digital zealots, of utopian dreams of an idealized architecture that would incubate an equitable society and the dystopian effects of the always unsuccessful attempts to realize those dreams. Vidler portrayed architecture and the social life it supposedly serves as permanently suspended between utopia and dystopia. Colin Rowe, his first tutor at Cambridge University in 1960, triggered this life-long obsession by pointing to Emil Kaufmann's writing about the precocious modernity of enlightenment architects, especially the ideal city imagined in the late 18th century by Claude-Nicolaus Ledoux, symptomatically the only architect referred to by the utopian socialist Charles Fourier. Vidler never let go of Ledoux, continuously reshaping him and an endless chain of architects from the 20th and 21st centuries, starting with Tony Garnier and Le Corbusier. Kaufmann and Rowe haunt all the work, as does Walter Benjamin, whose inversion of history likewise turned on the relationship between Fourier's philosophy and a specific architectural typology.","PeriodicalId":0,"journal":{"name":"","volume":"81 1","pages":"93-119"},"PeriodicalIF":0.3,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140778148","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
IF 0.3 Pub Date : 2024-04-01DOI: 10.1162/octo_a_00506
Colby Chamberlain
Abstract “On Collaboration” attempts to situate the withdrawal of support from the magazine Artforum (precipitated by the firing of its editor-in-chief David Velasco in October 2023) within a longer history of institutional antagonism. It compares strategies of opposition available to the avant-garde and counterculture in the 1960s (as exemplified by Fluxus's George Maciunas and the novelist Thomas Pynchon) with those that emerged in the 1970s, with particular attention paid to the machinery that sustained the appearance of the art world and, more broadly, the public sphere. Citing Vito Acconci's contributions to the exhibition ROOMS P.S. 1 (1976), it argues that much of what has been historically recognized as strategies of institutional opposition from the 1970s onward, including institutional critique and the alternative space movement, might be better understood within a framework of “institutional collaboration.”
{"title":"On Collaboration","authors":"Colby Chamberlain","doi":"10.1162/octo_a_00506","DOIUrl":"https://doi.org/10.1162/octo_a_00506","url":null,"abstract":"Abstract “On Collaboration” attempts to situate the withdrawal of support from the magazine Artforum (precipitated by the firing of its editor-in-chief David Velasco in October 2023) within a longer history of institutional antagonism. It compares strategies of opposition available to the avant-garde and counterculture in the 1960s (as exemplified by Fluxus's George Maciunas and the novelist Thomas Pynchon) with those that emerged in the 1970s, with particular attention paid to the machinery that sustained the appearance of the art world and, more broadly, the public sphere. Citing Vito Acconci's contributions to the exhibition ROOMS P.S. 1 (1976), it argues that much of what has been historically recognized as strategies of institutional opposition from the 1970s onward, including institutional critique and the alternative space movement, might be better understood within a framework of “institutional collaboration.”","PeriodicalId":0,"journal":{"name":"","volume":"371 1","pages":"19-26"},"PeriodicalIF":0.3,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140757352","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
IF 0.3 Pub Date : 2024-04-01DOI: 10.1162/octo_a_00505
Paul Chan
Abstract Paul Chan reflects on his experiences as an artist working in and out of domains of technology, from truetype fonts and pirated software to datasets and machine-learning frameworks. He recounts periods of his artistic life when he abandoned technologies as instruments of production. And he offers an idiosyncratic account of a lineage of artists and writers he admires who used and abused technology in aspects of their work—including Agnès Varda, Chris Marker, the Left Bank Group in 1960s, Yvonne Rainer, Theodor Adorno and the Radio Research Project; the bio-cybernetic work of free-jazz musician, programmer, and artist Milford Graves; the pioneering sound work of Maryanne Amacher; and the writer Claudia La Rocco—and how their dynamic and at times contentious relationship with technology proved vital to their understanding of what art under the influence of historical and social progress looks like.
摘要 陈保罗回顾了他作为艺术家在技术领域内外工作的经历，从真实字体和盗版软件到数据集和机器学习框架。他回顾了自己艺术生涯中放弃技术作为生产工具的时期。他还以特立独行的方式讲述了他所敬仰的艺术家和作家们在工作中使用和滥用技术的故事，其中包括阿涅斯-瓦尔达（Agnès Varda）、克里斯-马克（Chris Marker）、20 世纪 60 年代的左岸小组（Left Bank Group）、伊冯娜-雷纳（Yvonne Rainer）、西奥多-阿多诺（Theodor Adorno）和无线电研究项目（Radio Research Project）；自由爵士乐音乐家、程序员和艺术家米尔福德-格雷夫斯（Milford Graves）的生物控制论作品；玛丽安-阿马赫（Maryanne Amacher）的先锋声音作品；作家克劳迪娅-拉罗科（Claudia La Rocco）--以及他们与技术之间充满活力、时而充满争议的关系如何对他们理解历史和社会进步影响下的艺术至关重要。
{"title":"Machina Aesthetica: Impressions on Art in and out of the Machine Age*","authors":"Paul Chan","doi":"10.1162/octo_a_00505","DOIUrl":"https://doi.org/10.1162/octo_a_00505","url":null,"abstract":"Abstract Paul Chan reflects on his experiences as an artist working in and out of domains of technology, from truetype fonts and pirated software to datasets and machine-learning frameworks. He recounts periods of his artistic life when he abandoned technologies as instruments of production. And he offers an idiosyncratic account of a lineage of artists and writers he admires who used and abused technology in aspects of their work—including Agnès Varda, Chris Marker, the Left Bank Group in 1960s, Yvonne Rainer, Theodor Adorno and the Radio Research Project; the bio-cybernetic work of free-jazz musician, programmer, and artist Milford Graves; the pioneering sound work of Maryanne Amacher; and the writer Claudia La Rocco—and how their dynamic and at times contentious relationship with technology proved vital to their understanding of what art under the influence of historical and social progress looks like.","PeriodicalId":0,"journal":{"name":"","volume":"374 ","pages":"3-18"},"PeriodicalIF":0.3,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140776508","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
IF 0.3 Pub Date : 2024-04-01DOI: 10.1162/octo_a_00509
Anthony Vidler
Abstract There is an exhibition currently hanging in the penthouse of the Museum of Modern Art in New York: Far removed from the clamor of the street and the jostling of the crowd, a selection of delicately conceived and exquisitely executed drawings remind us that, even in the age of pragmatism, ideal architecture still preoccupies creative minds. From the recent past and the lived present, these studies speak of impossible futures, irresistible impulses, and inconsequential fantasies. Hoary technotopia from Archigram; satyrical dreamscapes from Superstudio; metalinguistics from Argentina's nouvelle vague; eclecticism, superrationalism, and painterly metaphor from New York's (and Princeton's) Five add up to form a picture of the whole tangled web of idealism and counter-idealism that has constituted today's attempt at visionary architecture. This exhibition raises, as do all such manifestations of the realm of utopia, questions as to the relation between art and daily life.
{"title":"Architecture, Poetry, and Everyday Life","authors":"Anthony Vidler","doi":"10.1162/octo_a_00509","DOIUrl":"https://doi.org/10.1162/octo_a_00509","url":null,"abstract":"Abstract There is an exhibition currently hanging in the penthouse of the Museum of Modern Art in New York: Far removed from the clamor of the street and the jostling of the crowd, a selection of delicately conceived and exquisitely executed drawings remind us that, even in the age of pragmatism, ideal architecture still preoccupies creative minds. From the recent past and the lived present, these studies speak of impossible futures, irresistible impulses, and inconsequential fantasies. Hoary technotopia from Archigram; satyrical dreamscapes from Superstudio; metalinguistics from Argentina's nouvelle vague; eclecticism, superrationalism, and painterly metaphor from New York's (and Princeton's) Five add up to form a picture of the whole tangled web of idealism and counter-idealism that has constituted today's attempt at visionary architecture. This exhibition raises, as do all such manifestations of the realm of utopia, questions as to the relation between art and daily life.","PeriodicalId":0,"journal":{"name":"","volume":"698 ","pages":"65-74"},"PeriodicalIF":0.3,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140787464","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
IF 0.5 Pub Date : 2024-04-01DOI: 10.5406/15437809.58.1.01
Richard Shusterman
After showing how pragmatist aesthetics and Marcuse's critical theory affirm aesthetic education as key to transforming society toward greater freedom, equality, pleasure, and fulfillment, I compare the ways these two approaches differently perceive the scope and role of aesthetics in such transformation. Whereas Marcuse identifies the aesthetic dimension with the realm of high art, pragmatism understands this dimension far more broadly to include the popular arts and somaesthetic arts of living. Because Marcuse identifies art's critical function through its oppositional transcendence and autonomy from ordinary reality and practical life, he insists that aesthetics cannot directly contribute to transformative praxis in the real world but can operate only indirectly by transforming our sensibilities. Pragmatist aesthetics, particularly though somaesthetics, resolves the dilemma in Marcuse's aesthetics of liberation by bridging the alleged gap between aesthetics and praxis by reeducating our sensibilities in a more direct, practical, embodied way. The article further exemplifies the overlaps and differences between Marcuse's critical theory and pragmatist somaesthetics by focusing on erotic experience, which is essential to Marcuse's liberational program and increasingly present in somaesthetics’ concern with aesthetic reeducation of our senses and sensibilities.
{"title":"Art, Eros, and Liberation: Aesthetic Education between Pragmatism and Critical Theory","authors":"Richard Shusterman","doi":"10.5406/15437809.58.1.01","DOIUrl":"https://doi.org/10.5406/15437809.58.1.01","url":null,"abstract":"\u0000 After showing how pragmatist aesthetics and Marcuse's critical theory affirm aesthetic education as key to transforming society toward greater freedom, equality, pleasure, and fulfillment, I compare the ways these two approaches differently perceive the scope and role of aesthetics in such transformation. Whereas Marcuse identifies the aesthetic dimension with the realm of high art, pragmatism understands this dimension far more broadly to include the popular arts and somaesthetic arts of living. Because Marcuse identifies art's critical function through its oppositional transcendence and autonomy from ordinary reality and practical life, he insists that aesthetics cannot directly contribute to transformative praxis in the real world but can operate only indirectly by transforming our sensibilities. Pragmatist aesthetics, particularly though somaesthetics, resolves the dilemma in Marcuse's aesthetics of liberation by bridging the alleged gap between aesthetics and praxis by reeducating our sensibilities in a more direct, practical, embodied way. The article further exemplifies the overlaps and differences between Marcuse's critical theory and pragmatist somaesthetics by focusing on erotic experience, which is essential to Marcuse's liberational program and increasingly present in somaesthetics’ concern with aesthetic reeducation of our senses and sensibilities.","PeriodicalId":0,"journal":{"name":"","volume":"6 2","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140353418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
IF 0.5 Pub Date : 2024-04-01DOI: 10.5406/15437809.58.1.04
Anne L. Cavender
The “classic” is a vexed term in the work of William Carlos Williams. He uses the category to describe both the stale classicism of T. S. Eliot and Ezra Pound and, conversely, the authentic, “aberrant” classic of James Joyce and surrealism. Analyzing unpublished archival manuscripts alongside the posthumously published collection of essays, The Embodiment of Knowledge, I approach the classic through Williams's theories of pedagogy. Williams parodies and rejects academic modes of reading that cling to the “malignant rigidities” of the past. Yet Paterson and The Embodiment also theorize the reader's interpretive power to disrupt any homogenizing conformity latent in the literary tradition. This dissonant hermeneutics can recuperate the classics and represents a form of resistance to a binary logic of past versus present, or European versus American literature.
在威廉-卡洛斯-威廉斯的作品中，"经典 "是一个令人困扰的术语。他用这个词来形容艾略特（T. S. Eliot）和埃兹拉-庞德（Ezra Pound）的陈腐古典主义，反之，他也用这个词来形容詹姆斯-乔伊斯（James Joyce）和超现实主义的真实、"反常 "的古典主义。通过分析未发表的档案手稿以及死后出版的论文集《知识的化身》，我通过威廉斯的教育学理论来探讨这部经典。威廉斯嘲弄并摒弃了固守过去 "恶性僵化 "的学术阅读模式。然而，《帕特森》和《化身》也从理论上阐明了读者的阐释能力，可以打破文学传统中潜藏的同质化一致性。这种不和谐的诠释学可以重拾经典，是对过去与现在、欧洲文学与美国文学二元逻辑的一种抵抗。
{"title":"“The Aberrant Is the Classic”: William Carlos Williams and Literary History","authors":"Anne L. Cavender","doi":"10.5406/15437809.58.1.04","DOIUrl":"https://doi.org/10.5406/15437809.58.1.04","url":null,"abstract":"\u0000 The “classic” is a vexed term in the work of William Carlos Williams. He uses the category to describe both the stale classicism of T. S. Eliot and Ezra Pound and, conversely, the authentic, “aberrant” classic of James Joyce and surrealism. Analyzing unpublished archival manuscripts alongside the posthumously published collection of essays, The Embodiment of Knowledge, I approach the classic through Williams's theories of pedagogy. Williams parodies and rejects academic modes of reading that cling to the “malignant rigidities” of the past. Yet Paterson and The Embodiment also theorize the reader's interpretive power to disrupt any homogenizing conformity latent in the literary tradition. This dissonant hermeneutics can recuperate the classics and represents a form of resistance to a binary logic of past versus present, or European versus American literature.","PeriodicalId":0,"journal":{"name":"","volume":"22 8","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140356664","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
IF 0.5 Pub Date : 2024-04-01DOI: 10.5406/15437809.58.1.06
Edward R. O'Neill
For almost 300 years, five different art forms have used the same instructional method. This Common Arts Instructional Method (CAIM) can be explained using a variety of theories. The CAIM also offers the opportunity to understand instructional methods under the banner of design: instances of types rather than applications of laws or principles. The differences between theory and design are explored, and some recommendations are offered for striking new instances of this common type.
{"title":"A Common Arts Instructional Method and the Logic of Design","authors":"Edward R. O'Neill","doi":"10.5406/15437809.58.1.06","DOIUrl":"https://doi.org/10.5406/15437809.58.1.06","url":null,"abstract":"\u0000 For almost 300 years, five different art forms have used the same instructional method. This Common Arts Instructional Method (CAIM) can be explained using a variety of theories. The CAIM also offers the opportunity to understand instructional methods under the banner of design: instances of types rather than applications of laws or principles. The differences between theory and design are explored, and some recommendations are offered for striking new instances of this common type.","PeriodicalId":0,"journal":{"name":"","volume":"58 43","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140356731","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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