The ArgumentThe question of the possible existence of black holes is closely related to the question of the action of gravitation on the propagation of light. It has been raised recurrently from the when that Newton referred to a possible bending of light in hisOpticks. And it relies on apparently simple questions: Is light subject to gravitation? What is the effect of a gravitational field on the propagation of light? Could a particle of light emitted by a star be retained (...) by its gravitational field?From the end of the 1960s, the black hole idea has had a very important place in the relativistic literature, not to speak of the popularization of the theory. It turned out to be not only an important concept but also a tool that permitted us to understand general relativity better, indeed a tool that contributed greatly to changing the interpretation of Einstein's theory of gravitation. Here too I want to use this concept of the black hole to assist our understanding of the history of general relativity: the black hole is a fundamental milestone in the evolution of general relativity. (shrink)

This paper considers Baudrillard’s thought in relation to cinema. It begins with a discussion of the way in which Baudrillard’s work typically invokes film and of the consequent paucity of Baudrillardian studies of cinema, making reference to the literature on Blade Runner and The Matrix . It proceeds to excavate a fuller account of Baudrillard’s conception of cinema, drawing, initially, on Baudrillard’s use of the 1926 German silent film, The Student of Prague , in his conclusion to The Consumer Society (...) . At first blush, this leads to a somewhat dismissive assessment of film qua simulation. Having reached the point where the importance of seduction to Baudrillard’s conception of cinema makes itself evident, however, the paper continues to evoke the other side of Baudrillard’s thought, where additional reference to his remarks on photography allows greater purchase on his understanding of cinema. (shrink)

part I. The unconscious: Into the darkness ; Spirits everywhere ; The unconscious in the laboratory ; The magical instinct ; The shadow -- part II. Magic: Fairy tales ; Alchemy ; Mystical numbers ; The tarot -- part III. Transcendence: Becoming transcendent ; The circulatio and the conjunctio.

The mass-to-volume ratio of the universe is of cosmic importance. It determines whether the universe will expand (as it is presently doing) forever or whether it will eventually recontract to a Big Gnab (the time-reverse of the Big Bang). The Big Bang is somewhat like a cannonball fired from a large Jules-Vern-style cannon on the surface of an airless planet. There is a "magic" cannonball speed called the escape velocity which measures whether its velocity "bank balance" exceeds the gravitational (...) "debt" which must be paid to escape the planet's gravity well. If the cannonball leaves the cannon barrel with a speed greater than escape velocity it will escape the planet's pull; with less than escape velocity it will fall back; with exactly escape velocity it will move ever more slowly away from the planet, requiring an infinite time to escape completely. (shrink)

Contemporary philosopher Michael Walzer described the Problem of Dirty Hands as the choice between achieving a morally good end by violating one's own moral principles and sticking to one's moral principles without achieving this end. Walzer specifically explored this problem in the context of someone in the position of political power who can make a significant impact on the greater good but only through performing morally problematic deeds. In the 2016 film Doctor Strange, there are three characters who see themselves (...) as presented with this problem: the Ancient One, Kaecilius, and Doctor Stephen Strange himself. Of the three characters we've considered, the Ancient One most obviously faced the Problem of Dirty Hands. Dark magic is one of those things that are so dangerous that they're simply forbidden, even by the most adept of users, such as the Ancient One. (shrink)

In this paper, I analyze the witch's dance through the lens of Jahra “Rager” Wasasala's bloo/d/runk (2016) and Liz Lerman's Wicked Bodies (2020) whose invocation of the witch through the moving body, I argue, goes beyond merely metaphorical or esthetic applications, but enacts a certain dramaturgical function as a hinging threshold, a dynamic site of negotiation between material and immaterial forces. In my analysis, I sketch the contours of a hinge‐analytic called “riding the hinge,” seeking suspension in the hinges of (...) performance in order to account for how invisible forces assume presence on stage through the figure of the witch as she dances. “Riding the hinge,” I argue, is a practice performed by choreographers who engage the transformational presencing power of the body of the witch in performance, as well as a critical methodology for analyzing such works. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:All was this land full fill'd of faerie," or Magic and the Past in Early Modern EnglandLauren KassellI.In 1625 Gabriel Naudé (1600–53), student of medicine and up-and-coming librarian, wrote a history of magic.1 Paracelsianism had been debated in France for decades, and in 1623 Naudé had lent his pen to the controversy following the hoax appearance of bills posted in Paris announcing the arrival of the Fraternity (...) of the Rosy Cross and the wonders they could provide. The impetus for Naudé's history of magic was a pamphlet that described Homer and Virgil, abusively, as magicians. As Didier Kahn has shown, Naudé's 1623 intervention against the Rosicrucians wrested a brewing dispute about Paracelsianism from the hands of theologians and settled it in the name of reason, not religion; his medical training no doubt informed his intervention.2 In his history of magic Naudé complained that everyone who ever did anything clever was now reputed to be a magician, which meant in league with the devil. His project was to clear the ground of the [End Page 107] false histories that had been written for the previous two hundred years. Adopting a mode of historia litteraria, he redeemed the reputations of several dozen learned men—including Zoroaster, Socrates, Roger Bacon, Agrippa, and ultimately Virgil—whose names had been sullied by the term magician.3The branding of natural philosophers and especially mathematical practitioners as magicians had been an enduring problem.4 As John Aubrey would later reflect in notes on the life of the Oxford scholar Thomas Allen, "In those darke times Astrologer, Mathematician, and Conjurer, were accounted the same thing."5 But Naudé provides an elaborate account of why these accusations initially might have been fabricated—jealousy, incredulity, malice, fear of technology—and demonstrates a method for unmasking these errors. Follow the simple rules of good scholarship, he insists: read the best authors, think logically, and acquire "a certain familiarity with the most profitable Sciences, and the most universal and general account of the affairs of this World that may be had, which is to be gained partly by our own industry, partly by the endeavors of those who have gone before us, such as may be those of Historians."6 That is, through hard work and the help of other historians, understand the context in which these texts were written. Perfect historians are indispensable; false historians should be read with caution.7 If one encounters a fabulous tale, locate its textual sources, read critically, and remember that (many) historians vend rubbish.8 Naudé surveys a vast literature dating from antiquity through the sixteenth century, demonstrating that misreadings of tropes and irony, for instance, have led to the labeling of poets and natural philosophers as magicians.9 Likewise, where people have professed their magical powers, Naudé is careful to show that writing books about magic and boasting about one's expertise are not the same thing as practicing magic.10 These fables persist because authors repeat what others have written without applying the above principles of good research; they write for their own glory instead of doing proper research; and they show off their polymathic skills by assembling great [End Page 108] heaps of examples instead of making sense of them. Thus the noble name of history is built upon a monstrous edifice of fables.11In short, prompted by festering occultism and religious controversies in Paris, Naudé wrote a history of magic in order to release the great men of learning from the label of magician. This is a history of the "first appearance of learning, the first rising of the great wits, the time they flourished, the ages which have brought forth most, and take notice by the way, how that ignorance hath always persecuted them with this calumny"; he defines magic historically.12 Great learning and suspicion of its demonic sources are inseparable. Through pragmatic reading, Naudé redeems scholars who have been called magicians, and shifts the onus of explanation away from these learned men and onto historians and their incredulous readers.13 Poor histories are written by men guilty of pride and malice. These fables persist because... (shrink)

This chapter considers epistemology to look at the four sorcerers who were once students of the Ancient One: Jonathan Pangborn, Kaecilius, Mordo, and Doctor Stephen Strange. In the 2016 film Doctor Strange, the Book of Cagliostro is a repository of forbidden knowledge of dark magic. The notion of “forbidden knowledge” is deeply ingrained in the collective consciousness. By contrast to the practicality of reliabilism, responsibilism emphasizes the ethical aspect of the acquisition of knowledge, demanding not only that it (...) be acquired well but virtuously. According to contemporary philosopher James Montmarquet, there are three character traits that are conducive to being epistemically virtuous in this sense: impartiality, courage, and the ability to unite these two in proper ways. Though none of the Ancient One's students display perfect intellectual virtue, Doctor Strange ultimately comes closest to the virtues of impartiality and intellectual courage in their proper balance. (shrink)

In this chapter, I will offer a strategic new interpretation of Hannah Arendt's conception of forgiveness. In brief, I propose understanding Arendt as suggesting—not that evil is objectively banal, or a mere failure of imagination—but instead that it is maximally forgiveness-facilitating to understand the seemingly unforgivable as merely a failure of imagination. In other words, we must so expand our imaginative powers (what Arendt terms “enlarged mentality”) by creatively imagining others as merely insufficiently unimaginative, all in order to reimagine them (...) as beings whom we are willing and able to forgive. It is in this sense that I understand forgiveness for Arendt as a kind of “magic.” That is, forgiveness involves the imaginatively-funded creation of a new reality by merely naming it, like the phenomenon of “magic thinking,” wherein one believes one’s thoughts or speech are immediately realized in the world. The magic of forgiveness, in other words, is an incantation or performative speech act, based on the forgiver’s choice to “make believe,” or pretend-into-being, that the forgiven person is forgivable qua thoughtless. (shrink)

This essay seeks to engage critically with the transhumanist goal of achieving the technological possibility of transferring consciousness into a computer. The general aim of the critical impulse of this essay is to interpret the various techno-optimistic attempts at transcending the bodily condition of life as being a kind of modern-day necromancy. By alluding to the magical or ritual notion of necromancy, this essay will show how the rationale behind Transhumanism and mind-transfer are premised on a desire to overcome life (...) itself by becoming immortal. Necromancy, whereby a sorcerer or practitioner suspends the dialectics of life and death, elevates the human to an inhuman position by attacking the very foundation of life itself – reviving the dead. This essay will juxtapose Transhumanism with necromancy by interpreting the goal to develop mind-transferring technologies in relation to texts that describe various technological means for practicing the art of necromancy or dark magic. By reinterpreting Transhumanism in this manner, this essay will show how the ritualistic, magical, or mythical foundations, that humanity had earlier called upon to overcome the fragility of their bodies have survived in the premises that underlining the modern-day endeavors to overcome the body via technological means. (shrink)

Magic appears frequently in medieval narrative, offering both danger and opportunity to the individual. The link between magic and fear is one of the most intriguing aspects of courtly romance, and this phenomenon is extremely well-developed in Konrad von Wiirzburg's Partonopier und Meliur. Konrad displays remarkable skill in developing the psychological aspects of his protagonists, and this paper demonstrates that the process of personal growth for the hero of this text is reflected in multiple manifestations of fear Partonopier (...) is initially afraid of the strange forest, the supernatural ship, the deserted city, the dark night and the invisible Meliur; later he fears losing both Meliur's love and God's grace. Fear proves to be the basic element of his entire life, but it provides him with the opportunity to search for himself; his path towards maturity is directly linked to his ability to overcome it. (shrink)

The quest -- Data -- Magic -- The sea as beloved -- Childhood -- Infinity -- Beaches -- The history of sea love -- The sea as koan -- Orenda -- The joy of ignorance -- Water -- Seeing the sea with the third eye -- The sea as miracle -- Music -- Water in love -- Aliveness -- The dark side -- The sea as toy -- The sea as healer -- Time and power.

Exploring the 'roads less travelled', MacDonald continues his monumental essay in the history of ideas. The history of heterodox ideas about the concept of mind takes the reader from the earliest records about human nature in Ancient Egypt, the Ancient Near East, and the Zoroastrian religion, through the secret teachings in the Hermetic and Gnostic scriptures, and into the transformation of ideas about the mind, soul and spirit in the late antique and early medieval epochs. These transitions include discussion of (...) the influence of Central Asian shamanism, Manichean ideas about the soul in light and darkness, and Neoplatonic theurgy, 'working-on-god-within'. Sections on the medieval period are concerned with the rediscovery of magical practices and occult doctrines from Roger Bacon to Francis Bacon, the adaptation of Neoplatonic and esoteric ideas in the medieval Christian mystics, and the survival of these ideas mixed with natural science in the works of von Helmont, Leibniz and Goethe. The book concludes with an investigation of the many forms of dualism in accounts of the human mind and soul, and the concept of dual-life which underpins our aspiration to understand how humans could have an immortal nature like the gods. (shrink)

This article explores the formation of a tranimal, hippopotamus alter-ego. Confronting transgender with transpecies, the author claims that his hippopotamus “identity” allowed him to escape, all at once, several sets of categorization that govern human bodies. He starts with an account of how his metaphorical hippo-self is collectively produced and performed, distinguishing the subjective, the intersubjective and the social. The article then investigates the politics of equating transgender and transpecies, critically examining the question of the inclusion of “xenogenders” in the (...) trans political movement. Finally, the author returns to the magical power of metaphors, arguing that metaphors do materialize insofar as the flesh does not remain unchanged by them. Analogizing his hippo-self to a “cut” as theorized by Eva Hayward – a regeneration of the boundaries of the self – he offers a final crossing to the world of fiction by showing how the His Dark Materials trilogy outlines an aesthetics of porosity, which suggests that the self is, as much as a novel, a work of fiction. (shrink)

The symbol is a form composed by man more unconsciously than consciously. With primitive peoples, this form seems to have been born from the desire to penetrate to the kernel of supernatural or magical power by means of a concise formula, all-inclusive or ambiguous, particularly through a magic incantation or a song. This penetration, however, is only possible if one understands the inner structure of such a power. According to primitive belief, the true seat of this power is not (...) found in the world of our direct experience but in a magical area in which it rests in a completely abstract, latent state. In this condition it has not yet spread out into various shapes which it has to assume for concrete manifestation but appears completely homogeneous and solid. Moreover, the innermost substance (kernel) of this power is always organized antinomically. From this fundamental tendency to include opposites in a dualistic way, thunderstorms for example emerge as a dual combination of fire and water. Also dualistic is the “fiery stream of volcano and smithy,” the light-dark, hermaphroditism, etc. Psychologically, the original dual event is expressed in the fusion of love and hatred or the combination of a lust for power with inferiority. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"Spirituality":"Weasel-Word" or Gateway to New Understanding?Peter Gilbert (bio)Keywordsspirituality, faith communities, NIMHEVisiting the Samuel Palmer Exhibition at the British Museum, I was struck, not only by the spiritual power of the paintings, especially in the late Shoreham period such as, my favorite: The Magic Apple Tree (circa 1830)—but how Palmer appeared to bring both Christian and Pantheistic themes into his work. The museum's exhibition collator remarks that Palmer saw (...) the fruitfulness of the earth as an intimation of Divine creativity. The artist sought to capture "The essential vivifying spirit, vital spark" (Palmer's words) of the physical world in which we live.I was reminded as I moved from The Magic Apple Tree, to In a Shoreham Garden, and The Golden Valley, how these paintings had been used by a record company when they had issued all of Ralph Vaughan Williams' orchestral and choral works in the 1970s, to mark his anniversary. Vaughan Williams was not a signed up Christian, but many of his choral works express a strong yearning for the transcendent using Christian imagery. The day before I visited the Palmer exhibition, I listened to Professor Robert Winston on Start the Week (28th November, 2005), in which he spoke of his BBC series The Story of God (Winston, 2005). As a scientist, Winston is intrigued as to why humans seek the transcendent. He continually refers to this desired other as "God," although I think it would be more accurate to call it a search for the transcendent. Winston puzzles over why there appears to be "a God-shaped hole" within humanity (Start the Week, November, 28, 2005), and again, as a scientist, postulates that: "the more we understand about science, the less we understand about the Universe."In the light of the most popular films and books at present, the search for something beyond ourselves appears to be very much at the center, rather than at the periphery of humanity's consciousness at the present time. Reading Philip Pullman's His Dark Materials trilogy, and reading his various essays, we are struck by his articulation of the human search:We need a story, a myth that does what the traditional religious stories did. It must explain. It must satisfy our hunger for a Why... There are two kinds of Why, and our story must deal with both. There's the one that asks What brought us here? and the other that asks What are we here for?(Pullman, 2001)The author's article is very helpful in its practical approach to psychotherapy and spirituality. I particularly liked her reference to the work of Charles Corr (1991) and his work with people [End Page 197] who are dying and considering the physical, psychological, social, and spiritual aspects of the last days. The spiritual aspects being around identifying, developing, or reaffirming spiritual sources of energy and hope. This is the kind of approach that the National Institute for Mental Health in England (NIMHE) national Project on Spirituality and Mental Health has been engaged in since 2001, the approach being to stress the spiritual dimension as an integral part of a whole person and whole systems approach to mental health; work with mental health services and their partners to engage with this agenda; and work toward a better understanding between faith communities and mental health services (see Gilbert and Nicholls, 2003). Service users and their carers are increasingly stating strongly to services that they wish to have their spiritual dimension and spiritual needs addressed properly—and certainly not in a "tick-box" method! The author quotes Samson and Zerter (2003) as saying that the person's spiritual dimension "draws a thread of identity, relationship, meaning and purpose, which weave through each of these aspects" (i.e. the life events and other aspects of their being).I welcome the author's stress on a "relational approach," and her breadth of reference, for example, the diary of Marcus Aurelius, the Roman emperor and philosopher, but I had some concerns about her use of the term personal theology, and talk of the personal aspect of religion and "the Divine," in that I think that this could... (shrink)

Violence occupies a regal position in the work of de Sade. It manifests itself in two forms: sexual persecution and enlightened reasoning. De Sade uses his most precious instrument as a semblance, by creating a magic spectacle of a gothic novel, and as truth, when he presents himself as a metaphysician and moralist. What kind of reading of de Sade deserves the title of the most adequate one? Does de Sade exist in text only? Is he the liberator, so (...) praised by surrealists? Or does his transgressive nature go beyond the postulates of moral or social-political liberalism and penetrate the sphere of existence, demanding such actions that could be performed only by an individual consciously aiming at its doom? In his theatrum of passions and arguments, de Sade returns to the motif of rivalry between good and evil, simulating various narrative positions: from impulsive libertinism to dark Gnosticism, and reaches for complementary means of expression: from apology of crime to a lyrically tinted martyrological emphasis. Reading de Sade need not cause indignation. If one remembers that he is a transhistorical philosopher, one can deal with him in the way suggested by Chantal Thomas – euphorically. The reading of de Sade, like all other texts, depends on the times; in his case, the best atmosphere is provided by the mental and political atmosphere created by liberal democracy. He can be read there with open mind and physically relaxed, lightly – as becoming for a comoedia. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:David Michael Levin ROUSSEAU'S CURSE Pretext Rousseau is the author of a text he called his Confessions. ' But neither a text nor a confession can exist without a reader, or an other. Like it or not, we readers are participants in the rite of Rousseau's confessions. Do we have anything to confess? When the reading of a confession uncovers the spelling of a curse, so that the self-accused (...) author appears to accuse his readers, the discoverers of the curse can no longer pretend their neutrality and innocence. In fact, the detectives must assume the identity of the accused. In such a special case, then, the inevitable work of textual interpretation magically doubles as the story of a mysteriously elusive "crime" and its final, or anyway presumed detection. But, as in the very best of such stories, neither the skillfully executed crime nor its invisible author—if indeed these terms denote anything at all—need be what they seem. So perhaps the only thing we can say for sure here is that the spelling of the curse is the curse of spelling. And this puts us on the track of a mystery as ancient as the art of writing itself—a mystery whose story the scholars of hermeneutics have thus far preferred to ignore. The mystery I have in mind is the secret affinity between writing and death. A careful hermeneutic approach to Plato's critique of writing, however, may give us a crucial clue. For what binds written language to the power of death is its role in mourning, its incarnation in the form of shadows: black configurations of shadows placed for visibility against the white of the paper. In Plato's Myth of the Cave, the crime of writing is dimly adumbrated. Writing is idolatry, worship of false images, shadows. Rousseau's Confessions, written near the end of his life in the shadow of death, does not escape the shadows of doubt and suspicion which we, his readers, having discovered our own selves inscribed into the darkness of the text, cannot easily refrain from casting. But as soon as we recognize in the shapes of these shadows a suspicion for which 76 David Michael Levin77 we are responsible, we must confess our fatal complicity in the closing of the hermeneutical circle. Commentary on the Text If Rousseau's Confessions does not read like the typical memoir, neither does it read like the typical confession. A final twist awaits us. We read with a certain innocence, or faith, not prepared for the transitive conclusion: the text, as it happens, will bequeath a monstrous and impossible burden. What is the reader to do? How could it be that this man, who seemed to honor us, and won our trust with the candor of his revelations, should so boldly, by one cross conceit, vanish, only to leave us double-crossed and within a labyrinth which, as he would have us believe, we ourselves have wrought? What are we to make of his work? At first, the Confessions appears to be a work of light: with dazzling clarity of mind and courage no less prismatic, Rousseau proposes to take his readers into the gloomy chasms of his soul. "My purpose," he declares, "is to display to my kind a portrait in every way true to nature, and the man I shall portray is myself" (p. 17). That this, however, is not the whole of his intention, we learn through a neighboring sentence. For he says: "Let the last trumpet sound when it will, I shall come forward with this work in my hand, to present myself before my Sovereign Judge, and proclaim aloud: 'Here is what I have done'..." (p. 17). And yet, even this does not fully disclose his design, since he concedes, somewhat later, that "it is as if, feeling my life escaping from me, I were trying to recapture it at its beginnings" (p. 31). But in the end, as in the beginning, darkness and light are one. And indeed, deep into the Seventh Book, we see that the author's light does begin to dim, and that he no longer speaks with much assurance. Nor is... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Sigewiza’s CureJennifer H. Radden (bio)Keywordsbiopsychosocial model, Hildegard of Bingen, associationist presuppositions, causation, power of suggestionSuzanne Phillips and Monique Boivin provide us with a sympathetic and compelling account of how the various elements of Hildegard’s sophisticated amalgam of ritual, magic, religion, dietary and other medical remedies, caring, and community, formed a seamless cure for Sigewiza’s affliction. Whether Hildgard’s approach reflects an early instance of the biopsychosocial “model” is a (...) separate claim, and may be challenged. But that her ministrations somehow effected a cure in this case seems—if not without a doubt, then very likely.Descriptions of Sigewiza’s condition, with its “clumping together of blackness and steam” caused by a “constellation of humors,” echo those of other medieval writers speaking of the humoral disorder of melancholia—at that time an encompassing category for a range of symptoms and syndromes that would today be assigned as different mental disorders. In these descriptions a variety of explanations for mental illness are quite typically introduced, including biological, social, supernatural, dietary and astrological ones. Phillips and Boivin take care to point out that Hildegard was not offering her remedies as alternatives, but rather proposing them as at work jointly and in a range of causal directions, exhibiting mutual influence, and feedback loops. As these authors say, multiple explanations “were often held simultaneously... in reference to a specific case” (Phillips and Boivin 2007, XX). And the factors that might cause the system to move out of balance are many: food, emotions, the soul, the mind, actions, and spiritual forces. So although deeds may cause bodily changes and their psychological accompaniments, “problems in the diet might affect the humors which would then have psychological effects, which demons might... use as opportunities to cause further trouble in the spirit, mind, and body” (Phillips and Boivin 2007, 365).What first struck me about Hildegard’s description of these many distinct causes interacting in complex ways is its compatibility with the multi-causal accounts of depression (and other mental disorder) frequently proffered in our own time. Daily habits (e.g., diet, sleep and exercise regimes), genetic predispositions, including biological states of fragility, external events, experiences of loss, social roles, and cultural beliefs—not to mention spontaneous recovery, and placebo effects—are all regularly implicated in the onset and course of conditions such as depression.Still, the similarity to these modern causal accounts may be somewhat misleading and we must beware of overstating it. In favoring and pressing on Hildegard’s holistic understanding, moreover, Phillips and Boivin perhaps insufficiently emphasize significant dissimilarities between Hildegard’s and our contemporary accounts.It is the interaction between the various elements making up Sigewiza’s cure that is most noteworthy [End Page 373] in this account, as Phillips and Boivin recognize. Yet that relationship itself seems in some ways surprisingly problematic: difficult for us to make sense of, and profoundly unmodern. Granted, we think we see the way these approaches probably influenced how Sigewiza felt and responded; but it is not so clear how Hildegard saw things. Like a lot of thinking in medieval times, Hildegard’s account provides us with glimpses of an understanding of the world that today looks prescientific and in that respect, almost precausal. (So, to the extent that the biopsychosocial model is understood as a causal one, the case of Sigewiza may exemplify it only inexactly.)It is not merely the range and type of causes, including supernatural and astrological ones, in accounts such as Hildegard’s that distinguish it from today’s analyses. It is also the reliance of such accounts on what seems to be a different metaphysics, one of associations or qualities.Associationist presuppositions can be found in accounts of health and illness from before, during, and long after, Hildegard’s time. Three examples of this pervasive, but puzzling thinking serve to illustrate. The melancholiac’s perceived swarthiness and darkened skin color—regularly noted from the time of the Greek physicians and an established part of the medieval iconography in images of melancholy—were not, or not primarily, thought to be a causal result of the darkness of his bile, as one might suppose. Instead, this coloring seems... (shrink)

Dungeon Masters may or may not make use of familiar fantasy elements whose beginnings lay with Tolkien, but they must always put their players in a world. Dark Sun, Eberron, and the Planar City of Sigil little resemble the history, languages, lands, peoples, and places of Middle Earth, but they follow Tolkien's practice of creating a world in which all these elements are meant to fit together. The first part of fantasy is the human capacity to separate the qualities (...) of things from the things in which they appear, and to imagine them in other things that do not have them. Many Dungeons Dragons campaigns treat magic as a kind of alternate science, but in fairy tales there is more to it than that. Fantasy succeeds when it transports us to an imaginary land, and we escape the grayer parts of our own for a little while. (shrink)

Today, it is becoming increasingly common for companies to harness the spirit of play in order to increase worker engagement and improve organizational performance. This paper examines the ethics of play in a business context, focusing specifically on the phenomenon of workplace gamification. While critics highlight ethical problems with gamification, they also advocate for more positive, transformative, and life-affirming modes of organizational play. Gamification is ethical, on this view, when it allows users to reach a state of authentic happiness or (...) _eudaimonia._ The underlying assumption, here, is that the ‘magic circle’ of play—a sphere that exists entirely for its own sake—should be protected in order to secure meaningfulness at work. However, we argue that this faith in play is misguided because play, even at its most autotelic, is ethically ambivalent; it does not lead inexorably to virtuous work environments, but may in fact have an undesirable impact on those who are playing. Our study thus contributes to research on the ‘dark side’ of organizational play, a strand of scholarship that questions the idea that play always points toward the good life. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:94 Feminist Studies 45, no. 1. © 2019 by Hannah Baker Saltmarsh Hannah Baker Saltmarsh This Girl I Lost Touch With This girl, who was afraid to enter a room— a girl born in the woods, on moss, whose family dreamt under quilts, who wore dresses that matched anything fabric in the house, even the dresses without loneliness— I held her hand in the corridor-dark until the speaking-in-tongues (...) at the community college dispersed into prayers with too many gerunds and too much fervor that wouldn’t adjust if you got a thousand dollars in the mail or jury duty, faith subtle as a crucifix the size of God on the highway. I waited with her until it was over, although the prayer group was never really over. Over rooms of crowded, faith-based humidity, she loved corridors of woods, the rushes of running away. This girl and I, we were cult-lured, but then the leader stepped down—was it porn, alcohol? He drove us around in a red jeep without doors— the first time I drove in a man’s car, I was eighteen so I fell in love: looking straight ahead together, arm hair touching, the cathedral of autumn anticipating a shape to hold you, the wind that you sometimes hollered over. What happened I can’t see, but when he left the group, I left: the death of visions. Hannah Baker Saltmarsh 95 This girl could long for a man in her fingernails, and, without talking, take a man from his pregnant wife’s side, have his even newer children, this girl who wouldn’t go in a room all alone, walked right in, somewhere we’ve not been, and never left. Monostich in Praise of Four Missed Foul Shots in a Row, Ending with a Line by Shaquille O’Neal —Orlando Magic vs. Houston Rockets, Game 1, NBA Final, 1995 Each mistake at the foul line longs to be its own distinct trip-up, divorced from the tragic-comic failure automatic-reflex of a protagonist on a shame-rampage; each delicate flaw of glass, net, rim wants to be denied once at the charity line, once and only once of red-lipsticked points, the naive purity of one aberrant error in calculation—not bring bleacher-crowds to their feet, posterless hands in the vaulted air before tallying Nick Anderson up as Brick Anderson, most hated NBA player of all time, and by his own fans not believing their own eyes as a series of empty arcs toward scoring dovetails into quadruple humiliations and a goofy smile of gutted hopes and boyish fear-tangled awe that any brain so practiced (for this and what else?) could fail so many times in a row, each fail better and Beckett-harder until the last exit out of obliterating loss is part of the abyss too, unless you are quick on your feet for sports broadcasting... but there is no end to swindled championships if you are a man who’s never had to face the extinction of his early twenties or suck the aftertaste of multi-millionaire juice cocktails poured with a legend’s touch, but in the soapy-sweet glass of your Dixie cup liquor, however close to the sound of Shaq’s name spoken in every language, stares your same lovesick reflection in the welt of that shot-glass mirror, mouthing the bitters of paranoid distraction, unripe manhood, aged ingratitude, and a starless Orlando Magic blue diamond broomed over by nursery-rhyme witches brushing out the cobweb-haze because the crowd is always the same crowd calling you swept... each fumbling error of pressure you let get to you, if only it could be a plotless, lyric monostich without arc, not driven to the plot that is your grave, where the unfaithful, the murderers, liars, and cheaters are defined by threads, no, snapped pieces, of seconds and, as Dante would have it, sorted in hell by a singular thought or deed so 96 Hannah Baker Saltmarsh transformative as to name you; the blue and white jersey on the floor, fists and feet, knees and elbows vacuumed in tantrum, hyped up in the court glare and... (shrink)

A remarkable turnaround by a leader with a remarkable philosophy: Find your noble purpose. Put people at the center. Unleash human magic. "It was Fall in Minnesota. It was getting cold and we were supposed to die." This is how Hubert Joly describes the early, dark days as CEO of Best Buy, a job most thought he was crazy to accept. Amazon was tearing a disruptive path through retail, but in the face of that existential threat Joly did (...) something remarkable: he saved Best Buy and remade it into a thriving company rated as one of the most desirable businesses to work for. Having recently stepped down as Chairman and CEO, Joly is ready to share the leadership principles that underpinned the resurgence of Best Buy and that he believes are at the heart of business: pursue a noble purpose, put people at the center, unleash human magic, and treat profit as an outcome. There was a time when many would call this a soft philosophy. But times are changing. Best Buy and 180 other companies signed the momentous Business Roundtable statement in support of stakeholder capitalism. The Covid-19 pandemic further pushed many businesses to lead from a place of purpose and with humanity. The changes underway are not a revolt, but a revolution. And Joly provides concrete advice on how to implement principles that can serve as beacons for the next era of capitalism. Joly himself was transformed from a hard-charging, deeply analytical McKinsey consultant to a leader who believes in what he calls human magic. He will share how so much of what he initially learned about management is either dated, incomplete, or simply wrong-including how to turn around a business, develop and implement a strategy, mobilize an organization, and what it takes to be a great leader. The leadership principles Joly lays out worked at Best Buy. They can also contribute to the necessary re-foundation of business and capitalism around purpose and humanity. (shrink)

In article it is proved that in the life of the Slavic peoples the special place held by a woman. "Female" cults and beliefs reflected in figurative and symbolic representations of Slavic mythology. It recorded the stereotypes, archetypes and symbols which are then in an ancient society has formed certain social attitudes and cultural canons. Figuratively symbolic representations in different cultures became the basis of the IN social constructs of identity related cultures. Figuratively, a symbolic representation of Slavic mythology testify (...) to the woman's place in society, her position in the family, relationship with man and environment. History mythology gives the opportunity to see the unity of the human mind and divine soul of man and nature. But the emergence of Archetypal images is partly determined by the individual typological structure of human identity. Already in ancient mythology was formed the cult of Woman, which for thousands of years, embodies the ambivalence of perception: the magic authority of feminity, wisdom and spiritual growth, extending beyond formal logic, any helpful instinct or impulse all that is called kindness, which gives care and support, contributes to the development and productiveness of, contrasted with secret hidden dark: the abyss, the world of the dead, all that devours, seduces and poisons, everything that causes terror and is inevitable as fate itself. Ancient women's cults of the Slavs was a holistic cultural-ideological system, appears part of a wider system of mythological ideas of the peoples of Europe. Women's cults of the peoples of Eastern and Western Slavs belong to the related cultures. Slavic mythological images are close to the mythological images of the other peoples of Europe, however, have their identity associated with the allocation of the total Indo-European family, at a certain stage of development of ethnos. The analysis of figurative and symbolic representations of Slavic mythology suggests that actualizes the problem of incorporating a "women's cults" gender and strain family relations. (shrink)

Massively multiplayer online games are not merely electronic communication systems based on computational databases, but also include artificial intelligence that possesses complex, dynamic structure. Each visible action taken by a component of the multi-agent system appears simple, but is supported by vastly more sophisticated invisible processes. A rough outline of the typical hierarchy has four levels: interaction between two individuals, each either human or artificial, conflict between teams of agents who cooperate with fellow team members, enduring social-cultural groups that seek (...) to accomplish shared goals, and large-scale cultural traditions, often separated into virtual geographic regions. In many MMOs, both magic and religion are represented, in ways that harmonize with a social-scientific theory that defines them in terms of specific versus general psychological compensators. This article draws empirical examples from five diverse MMOs: Dark Age of Camelot, Dungeons and Dragons Online, World of Warcraft, A Tale in the Desert and Gods and Heroes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 34.4 (2001) 322-334 [Access article in PDF] From Mysticism to Skepticism: Stylistic Reform inSeventeenth-century British Philosophy and Rhetoric Ryan J. Stark The idea of stylistic plainness captured the imaginations of philosophers in the seventeenth century. Francis Bacon's early attacks on "sweet falling clauses" and Thomas Sprat's invectives against "swellings of style" are especially quotable, and have been cited often by scholars from R. F. Jones to (...) Ian Robinson as evidence that a new attitude toward style emerged in the seventeenth century in conjunction with the new science. Still, even Robinson, who acknowledges the scientific influence on prose, cannot reconcile the plain style ideology with the less-than-sparse styles of the plain style advocates themselves. "The paradox," Robinson notes, "is that Sprat's language is itself imaginative and rhetorical," adding that Sprat denounced "the imagination... in a quite strongly imaginative way" with his "anti-rhetorical rhetoric" (160). This problem leads Robinson to charge that Sprat, Joseph Glanville, Bishop John Wilkins, and the other plain style advocates contradicted themselves by using highly metaphorical styles to criticize metaphorical styles, or were hypocrites in a stronger phrasing, even "painted hypocrites," to borrow a metaphor from one of Wilkins's complaints against metaphorical language.I will address this persistent argument that members of the Royal Society contradicted themselves by using elaborate metaphors to denounce elaborate metaphors, calling into question the very premise of the plain style mandates. The fact that members of the Royal Society continued to use figurative language in their writings is irrelevant. The plain style advocates did not attempt to remove figurative language from all discourses, or even scientific discourses. 1 "Plainness," instead, denotes a lack of occult influence in language. This forgotten philosophical meaning of "plainness" shows clearly that the plain style advocates did not share an antipathy toward ornamental styles, as is often suggested; rather, they shared an antipathy toward entelechial conceptions of style. The Royal Society's [End Page 322] arguments against obscure styles are arguments against the assumptions of a magical worldview, that enchanted cosmos occupied by Faustus and Macbeth, not arguments against any specific type of sentence structure or kind of metaphor. Technical issues of grammar and syntax played a minor role in these stylistic debates. In an ontological sense, the plain style advocates from Bacon to Sprat reconceptualized the very nature of linguistic form. This reconceptualization is best described as a movement away from mystical understandings of style and toward skeptical understandings of style, and this shift from mysticism to skepticism marks the stylistic reformation in the seventeenth century. 1. Entelechies and ornaments Bacon complains famously against "tropes and figures," "sweet falling of clauses," and "watery writings" in an introductory section of The Advancement of Learning entitled "Discredits to Learning from the Follies of the Learned--Ciceronianism, Scholasticism, Alchemy, and Natural Magic" (24-26). 2 Bacon includes a section for distempers of learning that do not fit neatly into categories, called "Other Errors of Learned Men Which Hinder the Progress and Credit of Learning." The coupling of these styles with alchemy and natural magic is not incidental. Bacon and the subsequent plain style advocates of the Royal Society target Ciceronian and scholastic styles specifically because of their strange cosmic elements, not because of their grammatical structures. For the new scientists, these vital styles recall a mystical worldview full of celestial influences, magical emblems, oneiric visions, and attendant spirits. The introductory section of Bacon's Advancement of Learning codifies in the newly scientific community the negative association between mysterious styles (e.g., Ciceronian, Senecan, baroque, metaphysical) and various kinds of occult behavior. Perhaps more so than any other English text, Bacon's Advancement banishes those mystical high styles of the late Renaissance to the mists and shadows of the credulous past, as Cowley describes in his "Ode to the Royal Society," to the "Kingdom of Darkness and Night" in Pope's Dunciad, or to "the island of savage women and moonlight" in Tennyson's "Locksley Hall."In Sciri Tuum Nihil Est, Glanville defends the plain style programs... (shrink)

Historiography realized that the Middle Ages were not the “dark ages” of the European civilization. On the contrary, the period generated a series of ideas and phenomena that are associated with the modern period. At the beginning, the first chiefs of states started by establishing connections with the church authority (through the rituals of crowning, anointing, or through the magic powers attributed to the king’s touch). Gradually, and due to the contribution of some important thinkers (such as Thoma (...) d’Aquino, Dante or Marsilio di Padova), the fundaments of the rational concept of the state organization were settled, in the transition period of the XIIIth- XIVth centuries. The author discusses these ideas (of the natural rights, of the conciliar doctrine) underlining their importance in the formation of the modern paradigm. (shrink)

Does it take faith to be a Jedi? Are droids capable of thought? Should Jar Jar Binks be held responsible for the rise of the Empire? Presenting entirely new essays, no aspect of the myth and magic of George Lucas’s creation is left philosophically unexamined in The Ultimate Star Wars and Philosophy. The editors of the original Star Wars and Philosophy strike back in this Ultimate volume that encompasses the complete Star Wars universe Presents the most far-reaching examination of (...) the philosophy behind Star Wars – includes coverage of the entire film catalogue to date as well as the Expanded Universe of novels, comics, television series, games and toys Provides serious explorations into the deeper meaning of George Lucas’s philosophically rich creation Topics explored include the moral code of bounty-hunter favourite Boba Fett, Stoicism and the Jedi Order, the nature of the Dark Side, Anakin and Achilles in a nihilism face-off, feminism and being chained to a giant slug, cloning, de-extinction, fatherhood, Wookiees, loyalty, betrayal, guardians, republics, tyrants, terrorism, civic duty, friendship, family, and more! Publishing in time for the global release of Star Wars Episode VII: The Force Awakens on December 18, 2015 – hotly anticipated to become the first film to top $3 billion in worldwide box office sales. (shrink)

An excerpt from Sergei M. Eisenstein's memoirs describing a night visit to the museum of Chichén Itzá in Mexico is set forth as a real life example reflecting, both from a visual and theoretical perspective, the architecture of Aby Warburg's Bilderatlas Mnemosyne and his concept of Denkraum. Drawing upon Warburg's own writings and F. T. Vischer's theory of symbol, the paper looks at Eisenstein's experience at the museum as highlighting the dynamic relation between man's religious/magical and scientific/rational psychic poles, and (...) the in-between space of thought inherent to the concept of Denkraum and visually represented by the empty dark intervals separating the images in the Bilderatlas. Adding significance to its argumentation, the paper also hints at an affinity between Eisenstein's film montaging and Warburg's image assembling criteria. (shrink)

The great majority of commentators have evaluated the splitting of the moon. The vast majority of them think that it occurred in the Prophet’s period basing their view on the clear statement of al-Qamar 54/1 verse and on related rumors. However, some commentators claim that the moon will split on the doomsday, by referring to the context of the same verse. The same names criticize the rumors claiming that they cannot constituteevidence for the splitting of the moon. To those who (...) think so, from the fact that the splitting of the moon was related by few companions and that it was not recorded in various geographies it is evident that the incident did not happen. It cannot be said that the commentators, who took that the view that the split of the moon were in the period of the Prophet, have similar views in this regard. They have different interpretations in matters such as the realization and the shape of the event. On the other hand, those who claim that the split of the moon is only an idiomatic statement and that the event is only a lunar eclipse, declare that the split of the moon never actually happened. In this study which deals with various interpretations of tafsirs of the splitting of the moon, it is aimed to criticize different opinions on this issue. Document analysis and comparison methods were applied in the article.Summary: The issue of the splitting of the moon has attracted many names from various disciplines, notably the commentators. In the verse of al-Qamar 54/1 mentioning the splitting of the moon has been an important factor for the commentators to evaluate this issue. The ḥadīth narratives regarding the cleavage of the moon are found in many ḥadīth sources, in particular, Ṣahīh al-Bukhārīand Ṣahīh al-Muslim. The rumors about the splitting of the moon, albeit with different forms, are attributed to Anas b. Mālik (d. 93/712), Jubayr b. Muṭ‘īm (d. 59/678-679), ʿAbdallāh b. ʿAbbās (d. 68/687-688), ʿAbdallāh b. ‘Omar (d. 73/692), and ʿAbdallāh b. Masʿūd (d. 32/652-653) One of the rumors about the splitting of the moon, although it is based on ʿAlī b. Abī Ṭālib (d. 40/661)is not found in the authentic ḥadīth sources. In some narrations, it is said that the miracle of the moon's splitting took place upon the request of the polytheists while the others are only mentioned how this miracle happened. On the other hand, it cannot be said that the commentators agree on the split of the moon. The main purpose of this study is to identify these opinions with its basis. Apart from those who do not accept the occurrence of the incident, there are differences of opinion among the commentators who see this event as a miracle of the Prophet Muḥammad. It is possible to classify the disagreements of the commentators in this subject in two headings as the time and manner of occurrence of this incident.Most of the classical commentators, on the basis of narrations, think that the splitting of the moon occurred during the period of Mecca. Among these commentators, al-Wāḥidī (d. 468/1076) and al-Qurṭubī (d. 671/1273), as well as the rumors of this evidence, offer as a proof the verse, "if they see a miracle, they turn away and say that this is a great magic." (al-Qamar 54/2). Some commentators, such as al-Qushayrī (d. 465/1072), accept that this phenomenon has taken place in the past by referring to the opinion of the commentators about the split of the moon. The views of many of the modern-day commentators such as Siddiq Ḥasan Khan (d. 1307/1890), Mawdūdī (d. 1399/1979) and Sābūnī, on this issue, apart from the narrations related to the subject have shaped the general opinion of the commentators. There are differences of opinions among some of the commentators, who accept that the splitting of the moon takes place during the time of the Prophet Muḥammad, as to the reasons and arbitrariness of the incident. According to classical period commentators such as al-Ṭabarī (d. 310/923), al-Samarqandī (d. 373/983), Fakhr al-Dīn al-Rāzī (d. 606/1210), al-Qurṭubī (d. 671/1273), and Shīʿī commentators al-Qummī (d. 329/941), this incident took place upon the Prophet Muḥammad asked for a miracle as evidence for his prophethood by Meccan polytheists. Therefore, these commentators establish a relationship between the splitting of the moon and the prophethood of the prophet Muḥammad. On the other hand, commentators like Sayyid Quṭb (d. 1385/1966) argue that the splitting of the moon cannot be regarded as evidence of the prophethood, citing the fact that the miracles of the Prophet Muḥammad except the Qurʾān were not reported. There is a disagreement about the validity of the narrations related to the events among the commentators, who see the splitting of the moon as a miracle of the Prophet Muḥammad. Ibn Kathīr (d. 774/1373) and Shawkanī (d. 1250/1834) commentators, such as the rumors about this issue as a precise; ibn ʿĀshūr (d. 1879/1973) does not accept the news on this issue as a precise. There are also some commentators who suggest that the splitting the moon will take place in the future. The commentators, who shared this view, especially Rashīd Riḍā (d. 1353/1935) argued that the splitting of the moon did not take place in the past, pointing out that the validity criteria of narrations related to the splitting of the moon, and contradictory issues in the content of the rumors, also most of the people narrated by him/her cannot witness the incident and that it is not possible for people in a certain geography to witness this incident.There are few classical period commentators who suggest that the moon will be split in the future during the apocalypse. The prominent names are al-Ḥasan al-Baṣrī, (d. 110/728), ʿAṭāʾ b. Abī Rabāḥ (d. 114/732) and Abū Bakr al- Aṣamm (d. 200/816). On the other hand, many names such as Rashīd al-Riḍā (d. 1353/1935), al-Marāghī (d. 1364/1945) and al-Shinqīṭī (d. 1394/1974) from the modern period declare that the moon will split during the apocalypse.According to these, in the verses of the al-Qamar 54/1 that apocalyptic scene is mentioned.In the verse, they try to justify the use of the verb meaning of a split in the past tense by introducing some evidence from other verses.According to them, in many verses that speak of apocalyptic scenes, events are expressed in the past tense. There are also commentators who have different evaluations on the way of the occurring event instead of the time concept. Al-Ghazālī (d. 505/1111), Muḥyiddīn Ibn al-ʿArabī (d. 638/1240) and Shāh Walī Allāh al-Dihlawī (d. 1052/1642) do not see the splitting of the moon as a real split mentioned in the verse of the al-Kamer 54/1. According to them, the event is an optical illusion. Muḥammad Asad (d. 1412/1992) connected this illusion to the lunar eclipse. Trying to explain the splitting of the moon by some commentators is one of the commentary differences in this issue. According to Mawdūdī, who did not see this event scientifically impossible, it is possible to reunite a fragmented star with gravity. Without a doubt, Ṭanṭawī al-Jawharī (d. 1940) is one of the names who make the most striking evaluations in this issue. According to him, the miracle of the moon's splitting has many aspects to shed light on scientific studies. Ṭanṭawī al-Jawharī sees the verse as the sign of the moon instead of any other celestial body, as a sign that the moon had long ago broken off from the world. Therefore, Ṭanṭawī al-Jawharī establishes a relationship between the splitting of the month mentioned in the verse and the theories about the separation of the moon in the modern period.One of the arguments about the splitting of the moon is related to the fineness of the language. Some commentators, who draw attention to the expression of the splitting of the moon, which is the expression in the Qurʾān, argue that the purpose of the separation of the moon is the occurrence of truth. According to the advocates of this view, the Arabs use such a statement to express that a work has come to light. According to this, the term "splitting the moon" as means that the Qurʾān expands the darkness in its period. In summary, the commentators make various comments on different grounds such as the narrative expression of the verse al-Qamar 54/1 regarding the splitting of the moon, the narrations about the event, and the language subtleties. (shrink)

continent. 1.4 (2011): 230—233. A word about the quotation marks. People ask about them, in the beginning; in the process of giving themselves up to reading the poem, they become comfortable with them, without necessarily thinking precisely about why they’re there. But they’re there, mostly to measure the poem. The phrases they enclose are poetic feet. If I had simply left white spaces between the phrases, the phrases would be read too fast for my musical intention. The quotation marks make (...) the reader slow down and silently articulate—not slur over mentally—the phrases at the pace, and with the stresses, I intend. They also distance the narrative form myself. I am not Alette. Finally they may remind the reader that each phrase is a thing said by a voice: this is not a thought, or a record of thought process, this is a story, told.(1) We read (reread) the poems that keep the discourse with ourselves going. —Wallace Stevens We have to break open words or sentences, too, and find what’s uttered in them. —Gilles Deleuze “The Descent of Alette” “is an allegorical poem” “in four books” “first published” “in 1992” “by Alice Notley.” “In the Descent of Alette,” “the double quotation mark” “is wrapped around” “words, phrases, sometimes whole sentences, and utilized as bones for structure and tonality.” “The winged” “dbl quotation” “like angels or devils” “descending from elsewhere” “function as” “poetic feet.” “Distance” “in the text through the use of dbl quotes,” “according to Notley,” “was a way to distance” “her self” “from the narrative.” I know someone who tattooed double quotes on her shoulder blades. In other words, the body is quotable. To be able to say that one is quotable. A body filled with other’s sayings. I never asked her what for, what is the double quote tattoo for and why on the shoulder blades? I prefer my own interpretation that keeps shifting every time I see her. First words of every poem in every book: Book One One ... On ... A ... There ... I ... We ... An ... A ... A ... I ... At ... A ... When ... When ... There ... I ... In ... At ... I ... Once ... A ... A ... In ... A ... A ... Two ... I ... I ... Eyeball ... In ... I... A ... I ... I ... On ... I ... There ... What ... As ... As Book Two I ... When ... I ... I ... As ... I ... I ... There ... I ... There ... I ... A ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I Book Three The ... Presently ... I ... I’m ... I ... We ... What ... My ... I ... Who ... But ... Lay ... My ... I ... The ... Your ... The ... I ... It’s ... As ... The ... Talon’s ... When ... We ... I ... Slowly ... I ... I ... The ... How ... The Book Four I ... I ... You ... The ... Now ... She ... The ... There ... As ... Then ... The ... All ... Let’s I ... You ... The ... Thus ... The ... I ... The ... I ... There ... Have ... The ... As ... The Defamiliar Object “Poetry is a defamiliarized language, whose formations, so far from being simply formations of meaning, are aesthetic structures...”(2) “The same can be” “irresponsibly associated” “with the use of punctuation.” “The dbl quotation as a measure” “of poetic feet” “is treated as such” “because the author” “injects artfulness into it.” “The dbl quote is an object—” “a joystick” “to control breadth” “(of breath.)” “To de-familiarize” “said sign” “is also to” “impart the sensation of [it] as [it is] perceived and not as they are known.”(3) “The dbl quote” “nests previous words, phrasings and sayings.” “How many have come and gone” “through the doorway of this punctuation sign.” “There are also air quotes and virtual quotes.” “There is emphasis and there’s irony.” “It would be aggravating” “or interesting” “to watch a reading of” “The Descent of Alette” “with someone” “raising and curling” “fingers” “bent out of shape” “in what could be used as” “peace signs.” “I am trying to avoid” “scare quotes.” “I looked up” “what they are” “and supposedly they arose” “in the early 20th century.” “The scare quote” “is a mark around a word or phrase to indicate that it doesn’t signify conventional or literal meaning.” “This isn’t how Notley” “intended to use them” “in The Descent of Alette.” “The characters, places, and things” “signify nothing” “beyond” “their literal meaning” “ within the allegory .” “I’d like to stress” “within the allegory;” “that’s why its” “italicized.” “It is told through” “the main character/voice of” “Alette.” “The author reminds us she is not Alette.” “The author marvelously found a way” “to distance” “her self” “from the narrative.” “This was attempted” “by tonal and intimate” “affect of the dbl quote” “used as poetic feet.” “Its as though” “punctuation in this regard” “becomes a magical toy.” “Arguably, punctuation” “(as perceived)” “undergoes a kind of” “ defamiliar ” “make-over.” “The text” gently forces the reader” “to slow down,” “read slowly.” “At some point” “one begins to sense” “lines of text” “moving on its own.” “Broken words, phrases, and sentences” “shuttling left to right” “like a subway” “that stops” “from station to station;” “open quote to end quote.” Double Quote Occupied “There are two worlds; one above ground” “and one underground.” “The world above ground is where,” “the tyrant” “with a capital t” “lives.” “(The “T” gets tangled in the claws of the dbl quote.)” “Alette becomes an owl and kills him.” “In the last book the tyrant dies.” “ “...the tyrant” “a man in charge of” “the fact” “that we were” “below the ground” “endlessly riding” “our trains, never surfacing” “A man who” “would make you pay” “so much” “to leave the subway” “that you don’t” “ever ask” “how much it is” “It is, in effect,” “all of you & more” “Most of which you already” “pay to live below” “But he would literally” “take your soul” “Which is what you are” “below the ground” “Your soul” “your soul rides” “this subway” “I saw” “on the subway a” “world of souls” ”(4) “New York;” “the city of cities” “and its subways—” “worlds underground,” “above ground,” “& above the above ground.” “Skyscrapers,” “Wall Street,” “old money,” “new money,” “and falling further down a cleavage;” “the middle class” “slipping away.” “Contemporary artist ” “Ligorano Reece” “recently made” “a sculpture of ice ” “a block of ice” “carved to read” “middle class” “(in all upper case letters)” “and let it melt” “naturally” “for however long—” “hours,” “days.” “It didn’t take very long to melt.” A global uprise of mass demonstrations; a cacophony of bodies on the street, in parks and universities, on City Hall lawns, coastal ports, neighborhoods, etc., and for what? The reasons are endless and finite. Not a single body is unaffected by the movement even when not “occupying.” “Occupiers” “stormed into a Sotheby’s auction” “protesting” “via human microphone” “that the CEO takes home” “about” “six thousand dollars” “a day.” “(The a/Art market” “is not a reflection” “of a desire” “for a/Art” “but a reflection” “of a desire” “for money” “confused with a/Art.)” What could it mean to occupy that which has been written or said? Someone with double quotes tattooed on both shoulders attempts to reclaim the sign; re-invent it privately-publicly since the body is always split between both spheres. A genre of hide-and-seek; the speaking and silent body which can never mean what it says even while it so desires to mean something. To nest (and hold hostage) someone in double quotes is an act of violence; a gesture of displacement where one is arrested, dislocated, and scrutinized under a distant gaze. “The air quote” “also known as” “finger quote or ersatz quote” “supposedly” “harks back to” “1927.” “The brevity of this gesture” “ as something invisible” “like virtual money or credit” “doesn’t really exist” “though it take up space;” “its the ghostliest of all punctuation signs” “and one that requires the presence and appearance of a body.” “ “she made a form” “in her mind” “an imaginary” “form” “to settle” “in her arms where” “the baby” “had been” “We saw her fiery arms” “cradle air” “She cradled air...” ”(5) “The air” “gets occupied” “by one or two hands” “with thumb, forefinger, and middle finger” “which alternately could be used” “to shoot rubber bullets,” “pepper spray,” “tear gas.” “How three fingers” “could be responsible for so much:” “satire, sarcasm, irony” “and ultimately” “bruises, blood, death.” (“The violence of the dbl quote is to eagerly to place oneself inside a tornado.)” “The violence of this” “embodied punctuation mark” “stems from a discordance with others.” “Is the name, word, or phrase” “placed in dbl quotes” “heroic” “ or brave?” “An act of displacement;” “must there always be” “bright or negative lights—” “a leaderless act” “to inhabit, to occupy” “space removed” “from normative use.” “Of course” “I’m also wondering” “what it means to re-occupy” “public/private space—the street, neighborhood or page” “policed” “by laws, limits, and” “to some extent” “punctuation.” Echo, Mirror “There are first, second, and third voices interwoven.” “ “Braid of voices,”(6) ” “Some lines read as internal thoughts,” “dialogues,” “and scene descriptions,” “all of which make up the allegory.” “It seems appropriate” “for the word” “allegory” “to nest in dbl quotes” “for perhaps it might be” “a gesture to echo on and on” “eternally referencing” “whatever came before.” I notice the first tooth of the double quote, when paying too close attention, gets caught in the hook of the “f”. I space bar to untangle them; the f does not resist the closed bite of “deaf” and I resist to know what it could mean, because it could doubly mean nothing. “ “He looked” “so familiar” “to me...”(7) ” “The second-person” “echoes in one of two directions:” “further into” “or farther from” “me.” “Its as though” “the second-person amplifies” “or else the opposite” “in which he,” “who looks so familiar,” “retreats further” “like stars in a telescope.” “The dbl quote” “has this kind of affect” “concerning distance and dimension” “as also illusory” “as something twice removed” “and unreal” “in a similar way” “movie stars are unreal and far away.” “ “I entered” “a car” “in which I seemed” “to see double” “Each person I” “looked at seemed” “spread out” “as if doubled” “Gradually” “I perceived that” “each person” “was surrounded by a ghostly” “second image” “was encased in it” “& each” / “of those images,” “those encasings,” “was exactly the same” “each was in fact” “the tyrant...” ”(8) A daydream of a mirror-less world while staring through window blinds; a palm tree behind. It was dark with nothing there. A world with no mirrors “in my mind,” though my mind could only reflect what it knew: a palm tree. Naturally then, palm trees multiplied; a world of palm trees reflected the daydream with no mirror in sight. “The mirror” “(prior to obsidian manufacturing ca. 6000 B.C)” “was wherever water” “could be found.” “Its interesting” “mirrors have been around” “before humans—its funny” “animals and humans” “get born into” “a world of mirrors,” “therefore, simulation” “is always already” “a given—” “a sparkly consequence to be born with a dbl.” NOTES 1. Notley, Alice. “Author’s Note” in The Descent of Alette (New York, 1996) 2. Bruns, Gerald L. “ From Intransitive Speech to the Universe of Discourse” in Modern Poetry And The Idea of Language (New Haven & London, 1974), p.75 3. Ibid. p.77 4. Notley, Alice. The Descent of Alette (New York, 1996). p.3 5. Ibid. p.10 6. Ibid i. p.9 7. Ibid ii. p.16 8. Ibid iii. p.12. (shrink)

INTRODUCTION BY NANCY FUMERO What is a translation that stalls comprehension? That, when read, parsed, obfuscates comprehension through any language – English, Portuguese. It is inevitable that readers expect fidelity from translations. That language mirror with a sort of precision that enables the reader to become of another location, condition, to grasp in English in a similar vein as readers of Portuguese might from João Guimarães Rosa’s GRANDE SERTÃO: VEREDAS. There is the expectation that translations enable mobility. That what was (...) written in one language be accessible in another. And that a translator is to serve as a mediator, acting ultimately in service to ideas within the source text. To disperse them. However, this notion of translation is partly antithetical to the ideas in Rosa’s work. Or, alternately, to convey the despair of terrain slipping beneath one’s feet, and to encounter the heightened suspense of magic, the translation, as part of its strategy, cannot devotedly rely on its original language, not as its source text. The work undertaken by Felipe W.Martinez is a new form of translation that risks everything in order to encounter the same treacherous knowing Rosa had traversed. And it takes its risks by not taking risks: by being, almost word for word, a literal translation. This is an approach that reductively converts, as opposed to translates. The idiomatic differences between English and Portuguese are not accented. The syntax is not finessed. Liberties are not assumed on account of improving readability. What stands, resoundingly amid such absences, is the awakened challenge of reading. The genuine peril of not knowing. That is, this translation, one that purports to know nothing, creates access into the guileful world Rosa had created in Portuguese. But not by translating. If anything, GRANDE SERTÃO: VEREDAS is speaking a cosmic language through a linguistic one. And W.Martinez does us the service of recognizing this, as what configures the shapes of words and sentences is not as simple as neologisms, portmanteaus, and digressions, but as terrifying as the path the fool traverses: all paths. As such, this translation doesn’t speak English, just as the original does not speak Portuguese. It is the assemblage of paradox as a new logic that can be navigated, if only one could suspend the comfort of readability, of expectation. If one could descend a mountain in the pitch dark of night, each step shocking the body, unable to acclimate to the unleveled heights. Without a doubt, the translation is incongruous to the Portuguese. Taking a small excerpt to compare: Eh, well, thereafter, the rest the Sir provide: comes the bread, comes the hand, comes the god, comes the dog. What is striking is the interplay between “god” and “dog”. To most English speakers, this anagram is a familiar one. But in Portuguese the words god (“deus”) and dog (“cão”) are not so closely linked. In fact, there is no direct mention of “deus” in Rosa’s text: Eh, pois, empós, o resto o senhor prove: vem o pão, vem a mão, vem o são, vem o cão. Both are fascinating. In Rosa’s excerpt, the rhythm is unmistakable and precise, despite, of course, the indices of hesitation: the commas, the Eh, the uncomfortable way of searching through prolongation and wait. This is the sort of paradox Rosa can engage within a sentence. W.Martinez’s does this as well, at a scale that reverberates beyond the sentence, and with one noticeable addition: deus. What may appear to be an overstep, to add such a weighted word that draws out wordplay but is, nevertheless, not in the source text, is exemplary of risk. The translation buzzes because of it. This is because throughout the text we encounter dogs frequently, as some primal beast on par with humans. The dog is one that masters and can be mastered. A creature that is at times its face, and at others a mask. It is a powerful presence. For the translator to be attuned to the reverent undercurrent attributed to this animal, and create within the translation such charged play in English from what was only an implication in Portuguese, is in tribute to the grand beauty within dissonance. What aberrant modes of writing and translation can teach us most assuredly, is that things, words, are not in states of rightness or wrongness, but of oscillation. This isn’t so different from what Rosa says himself: The Sir look…see: the most important and beautiful, of the world, is this: that the people are not always same, still were not completed — but that they go always shifting. They tune or detune. We find this so readily in W.Martinez’s translation, this tuning and detuning. Nancy Fumero Los Angeles GRAND SERTÃO: VEREDAS BY JOÃO GUIMARÃES ROSA TRANSLATED FROM THE PORTUGUESE BY FELIPE W.MARTINEZ Nonothing. Shots that the Sir heard were man brawling not, God be. Bleach white sights on the tree in the backyard, down in the river. By my right. I do this every day, I like; from the bad of boyhood. Thereof they came to call on me. Case of a calf: a white calf, errorful, eyes of to not be—saw selves—; and with a mask of a dog! They told me; I didn’t want to catch a sight. Same that, by the defects of birth, upturned lips, looked to be a laughing man. Folkface, dogface: they determined—it was the devil. Bananas. Killed it. Do not know who owned it. They came to borrow my guns. I caved. I’ve no power to impose. Oh, sir, you laugh certain laughs…Look: when it’s a true shot, first the dogs begin to bark, instantly—after, then, you see who’s handed death. Sir, endure, this is the Sertão. Some want that it is not: that situated Sertão is in and out of those general fields, they say, end of the road, highlands, the other Urucuia. Toleima. For those of Cortino and of Curvelo, then, isn’t here said Sertão? Ah! That there’s more! To place the Sertão it’s told: it’s where the pastures lack latches; where one can tear off ten, fifteen leagues without running into a houseinhabitant; where criminalousness lives out its christ jesus. Sifted out from the tightening grip of the law. The Urcuia comes from the western mountains. But today, its banks, give all—farmlands of farms, pastures of meadows of good yield, low tides, cultures that go kill for kill, until these virgins there are. The general fields run round. These general fields are without size. Ultimately, whichever one one approves, the Sir knows: bread or breads, it’s a question of heads…the Sertão is everywhere. Of the devi? No comment. Sir ask the dwellers. Falsely I fear they unspeak that name of his—only say: whatsitcalled. Volt! no… Whosoever over avoids it, lives with it. In the sentence of one Aristides—who exists in the first palm grove on the right hand side, called Vereda-of-Cow-Calm-of-Saint-Rita—everyone believes: he can't pass in three designated places: then can be heard the tiny cry, behind, a little voice warning:— "Here I come! Here I come!... "— that is the Capirote, the whatsitcalled... And one Jise Simplicio—who anyone from here will swear he keeps an imp in house, a little satanite, imprisoned and obliged to help in all greedful deeds; reason that Simplicio emprises en route to complete riches. As such, for this they say too that his beast bristles and refuses, denying his banner, unyielding, when he wishes to mount... Superstition. Jise Simplicio and Aristides, continue getting fatter, thence unheard or heard. Still the Sir study: right now, in these days of time, you have people purporting that the devil proper stopped, mid-passage, in Andrequice. A boy out of there, to whom'd appeared, and there lauded that, to get here—normally, by horse, a day-n-half—he was capable of such with only some twenty minutes enough... by coasting the River of Chico by the headwaters! Or, too, who knows—sans offense—will not have been, for example, even yourself the Sir who announced such, when you passed by there, for fun run funny? Thereof, not my given crime, I know that wasn't. And evil I wanted not. Only that one question, in hours, at times, brightens peaceful reason. But, the Sir understand: if such a boy, there was, he wanted to dupe. Because, hey, that, to cut the river off by the springs, would be the same thing as one redoubling in the internals of this our state of ours, costant of a journey of some three months... Then? Whatsitcalled? Dodo. The fantastication. And, the respect of giving him such these names of delicacy, is what it is for one to want to invoke that he form of form, with his presence! Not that is. I, personally, almost that have lost in him the creed, deserving to Deus; is the that to the Sir I say, to pure-secret. I know that it is well established, that it greases our Saintly-Gospels. On occasion, I conversed with a young seminarian, super suitable, conferring in the book of prayers and coated in vestments, with a stick of black-sage in hand—prosed that he went auxilitator to the father, to extract the Cujo, from the body living of an oldwoman, in Waterfalls-of-Bulls, he went with the vicar of Field-Round... I conceive. The Sir not is as I? I didn't believe a single thing. Compadre mine Quelemem describes that that which reveals effect are the low spirits meager, of third, adoing in the worst darkness and with anxieties of connecting selves with the livers—they give support. Compadre mine Quelemem is who much me consoles—Quelemem of Goias. But he has to live far from here, in Jijuja, Vereda of Buriti Dark... Ahrr, I leave myself there, that in enevildemonment or with support—the Sir too must have had known diverse, men, women. As not yes? For me, umpteen I've seen, that I've learned. Ma-Neigh, Blood-o'Other, or Legion-Lips, or Tear-em-Down, Cold-Cutter, or Sissy-Goat, one Treciziano, or Verdigris... or Hermogenes... o'them, pileload. If I could forget so many names... I'm not a man for calming horses! And, same, whom of yes of to be jagunço self enters, yea is for some competence entrant of demonion. Will it not? Will it? From first, I made and mixed, and to think not I thought. I didn't have the deadlines. I lived pulling difficult from difficult, fish alive on griddle: who lives asp'rously, no fantasies. But, now, fete of fate to me comes, and sans little disquietudes, I'm from creaky net. And myself invented in this like, of to speculate ideas. The devil exists and nonexists? I say the saying. Opennouncement. These melancholies. The Sir sees: exists waterfall; and since? But waterfall is gulch of ground, and water so pouring from it, retumbling; the Sir consume that water, or undo that bankment, remainder waterfall any? To live is negotiation much perilous. I explain to the Sir: the devil vigors inside of human, the wrinkles of human— or is the human ruin, or the human of adversess. I free, per se, citizen, is that not has devil notone. Notone!— is the that I say. The Sir approve? Me declares total, frank— is high merit that me make: and to beg might, increased. This case— by rashtravagance that me they see— is of mine certain importance. God grant not was... But, not say that the Sir, awised and instructed, that agrees in people of them?! Not? You I appreciate! Your high opinion composes my value. Yea I knew, waited for it— yea the field! Ah, a we, in oldness, we lack of to have plowing of rest. You I appreciate. Is devil notone. Nor esprit. Never I've seen. Someone ought to see, then was I myself, this your servant. Was I you to tell... Well, the devil regulate his state black, ins creatures, ins womens, ins humans. E'en: ins childrens— I declaim. Since not is said: "boy—trainee of the devil"? And ins thes uses, ins plants, ins waters, in terra, in wind... Manures. …The devil in the street, in the middle of the vortex... Hey? Hey? Ah. Figuration mine, of worse by back, the certain memories. Mal-make me! I suffer pain of to tell not…Meliorate, if chillingly: well, in a ground and with equal format of branches and leaves, not give to cassava-calm, that is eaten common, and the cassava-mad that kills? Now, the Sir yea saw a strangeness? A cassava-sweet can rapidly to turn agonizing— motives not I know, at times is said that is for replanted in the terrain always, with mutations then, of caules—go embittering, of s’much in s’much, of its self takes poisons. And, well look: the other, the cassava-mad, too is that at times can fix calm, the estimate, of is to eat sans notone mal. And what this is? Eh, the Sir yea saw, for to see, the ugliness of hate pleated, facetorqued, on the faces of one cobrarattlesnake? Observed the porker fat, capita day more felicity brute, capable of, could, snort and engulf for its own dirty coziness the world total? And sparrowhawk, blackbird, some, the features of they yea represent the need of cleave for before, rend and shred by beak, appears a knife much fine for ruin I desire. Total. Has even twisted races of stone, horrorous, venomous— that spoil mortal the aquas, if they are buried beneath of well; the devil inside of them sleeps: they are the devil. Is known? And the demon— that is only thus the significance of one mercury malign— have order of to follow the path of him, have license to brag?! Arr, he is variegated in all! What the what wastes, goes spending the devil of inside of the people, by itttybits, is the reasonable to suffer. And the delight of love—compadre mine Quelemem says. Family. Really? Is, and not is. The Sir think and not think. Total is and not is… Almost all more grave criminous ferocity, always is much good husband, good son, good father, and is good-friend-of-your-friends! I know of those. Solo that have the afters— and Deus, joined. I spy many nimbi. But, in veracity, son, too, softens. Look: one called Aleixo, resident a league from Step-of-Sour, in Of-Sand, was the man of major badness calm that yea you saw. Me agreed that near the house of his had a weir, amidst the palms, with traíras, for souls of enormous, desenormous, to the real, that received fame; the Aleixo gave of to eat to them, in hours just, they self accustomed to if assuch of lunacies, in order to gobble, seemed to be fishes instructed. One day, solo for grace rustic, he killed an oldman who by there passed, destitute begging alms. The Sir not doubt—have people, in this bored world, that kill solo in order to see someone make grimace… Eh, well, thereafter, the rest the Sir provide: comes the bread, comes the hand, comes the god, comes the dog. This Aleixo was man afamilied, had children small; they were the love of his, total, absurdity. Gave good, that not even a year there passed, of to killed the oldman poor, and the children of Aleixo there they asickened. Smallepidemic of measles, they said, but complex; they never heal. When, then, they healed. But the eyes of theirs vermillionized high in an inflame of spraining to rebellion; and nexthing— the that not I know is if they went of at once, or one later and later other and other— they remained blind. Blind, sans remission of one sweet of light of this Ours! The Sir imagine: stairset— three boys and one girl— all blind. Sans remediable. The Aleixo not lost the judgment, but he changed; ah, mutated complete— now lives of band of Deus, sweating to be good and charitous in all his hours of night and of day. Appears even that he fixed the felicity, that before not was. He himself says he was a man of luck, because Deus wanted to have pity of him, to transform for there the route of his soul. That I heard, and me it gave rage. Reason of the children. If being castigated, what culpa of the let-there-bes of Aleixo those little children had?! Compadre mine Quelemem reproved my uncertainties. That, for certain, inother life returnaound, the children too had been the most wicked, of the mass and part of the father, demons of the same kettle of place. Sir the what thinks? And the oldman, assassinated? — I know the Sir goes to discuss. Well, too. In order that he had a sin of crime, in the body, by to pay. If the people— conforming compadre mine Quelemem is who says— if the people turn to to incarnate renovated, I contemplate even that enemy of death can come as son of the enemy. Look see: if to myself I say, has a subject Pedro Pindo, neighbor of here more six leagues, man of good for all in all, he and the woman of his, always been good, of goodness. They have a son of some ten years called Valtei—name modern, is the that the population of here now appreciates, the Sir knows. Well this-little-thing, thislet, since that some understanding illuminated in him, deed demonstrated the that is: petition stepfather, acid burner, likeful of ruin of inside of the profundity of the species of its nature. In which that torments, to the slowly, of all beasts or raisinglings little that quarrel; one time he found a creole woman hooched foolish sleeping, he arranged a shard of bottle, lashed at three points on the stern of the legs of hers. The what this boy drooled seeing, is bleeding hen or to knife pig.— “I enjoy of to kill…”— one occasion he teeny me told. He opened in me a fright; because: birdy that self leans over— the flight yea is ready! Well the Sir oversee: the pa, Pedro Pindo, mode of to correct this, and the ma, they give in him, misery and mast—they cast the boy sans to eat, they tied to trees in the yard, he nude, unplumed, even in June cold, they tilled the bittybody of his with the trammel and with the goblet, after they cleansed the skin of the sanguine, with bottle gourd brine. The people know, spy, fix wasted. The boy yea relowered of thinness, the eyes entering, caress of bones, enskulled, and tuberculated, the time total hacking, coughness of the that draw parched pectorals. Arr, that now, visible, the Pindo and the woman self habituated of on him hit, of little bit in little they were creating in this a pleasure ugly of diversion— as they regulate the canings in hours certain comfortable, until they call people to see the example good. I think that boy not endure, yea there is in the ta-da, not arrive for the lent to come… Ooee-ooee, then?! Not being as compadre mine Quelemem to want, that explication is that the Sir bestowed? That boy had to be a man. He should, in swing, terrible perversities. Soul of his was in the pitch. Demonstrated. And, now, paid. Ah, but, happens, when he’s crying and paining, he suffers equal that as was as a boy good… Bird, I saw all, in this world! Yea I saw even horse with hiccups… —the that the thing most costous that is. Good, but the Sir may say, should of: and in the start— for offenses and arts, the people— as for that was that s’much amended was started? Ey, ey, ey all collided. Compadre mine Quelemem, too. Am solo a sertanite, in these high ideas I navigate mal. Am much poor poor-thing. Envy my pedigree and of ones conform the Sir, with total reading and doctoration. Not is that I be illiterate. I spelt, years and middle, midly speller, memory and palmer. I had master, Master Lucas, in the Curralinho, he memorized grammar, the operations, rule-of-three, even geography and study patria. On leaves great of paper, with caprice I traced handsome maps. Ah, not is for to speak: but, since of the start, me they thought sophisticated of side. And that I merited of to go to course latin, in Lesson Waterlily—that too they said. Time nostalgic! Going today, I appreciate a good book, despaced. On the farm The Lilittlelemon, of one mine friend Vito Soziano, so sign of this almanac thick, of logoglyphs and conundrums and other divided matters, all year come. In s’much, I place primacy is in the reading advantageous, life of saints, virtues and examples— missionary astute engambling the Indians, or Saint Francis of Assis, Saint Anthony, Saint Gerald… I like much of moral. To ratiocinate, exhort the others for the good way, to acounsel to just. Mine woman, that the Sir knows, vigils for me: much prayer. She is a blessable. Compadre mine Quelemem always says that I may to aquiet my fears on conscience, that being well-attended, terrible good-esprits me protect. Eep! With like… As is of saint effect, I help with mine to want to accredit. But not even always can I. The Sir knew: I total the mine life I thought for me, lining, I am born different. I am and I same. I divert of total the world… I almost that nothing not I know. But I disconfide of many things. The Sir, conceding, I say: in order to think long, I am dog master— the Sir loose in mine front an idea ease and I research that by profundity of total the backwoods, amen! Look: the should of to have, was of so reunited-selves the wise, politicos, constitutions graded, closed the definitive the notion— to proclaim for one time, art assemblies, that not have devil notone, not exists, not possible. Valor of law! Solo assuch, they gave tranquility good to the people. Because the government not cares?! Ah, I know that not is possible. Not me settled the Sir for philistine. One this is to place ideas arranged, other is to deal with country of people, of flesh and sanguine, of thousand-and-many miseries… S’many people—gives scare of to know—and notone so calms: All nascenting, crescendoing, so wedding, wanting collocation of employment, consumables, health, abundance, to be important, wanting rain and affairs good… Of luck that lacks of so to choose: or we t’weave of to live in the salacious common, or care solo of religion solo. I could to be: father clergyman, if not chief of jagunços; for other things not was I birthed. But mine oldness yea principaled I erred of total account. And the rheumatism… There as whom says: in the primers. Ahem. Hey? Hey? The that more I think, I testify and explain: all-the-world is mad. The Sir, I, we, the people all. For this is that so lacks principally of religion: in order to desendodorize, to disdodoate. Pray is that heals of lunacy. In the general. This is that is the salvation-of-the-soul…Much religion your servant! I here, not I lose occasion of religion. I profit of all. I drink water of all rivers… One solo, for me is little, maybe not me arrives. I pray christian, catholic, I burrow the certain; and I accept the prayers of compadre mine Quelemem, doctrine of he, of Kardec. But, when I can, I go in the Mindubim, where one Matias is believer, methodist: the people so accuse of sinner, reads high the bible, and why, singing hymns beautiful of his. Total me quiets, me suspends. Whatever small shade me refreshes. But is solo much provisory. I wanted to pray— the time total. Many people not me approve, they think that law of Deus is privileges, invariable. And I! Doof! I Detest! The what I am? — the what I do, that want, much curia. And in face of total I face, executed. I? —not I trammel. Look: I have a black girl, Maria Leoncia, long from here not she lives, the prayers of her afame much virtue of power. Well to her I pay, every month— ordering of to pray for me one third, every saint day, and, on the Sundays, a rosary. Value, so values. Mine woman not sees mal in this. And I am, yea mandated word for an other, of the voyage-voyage, a Izina Calanga, in order to come here, I heard of that prayer too with grand mermermerits, I go to effect with she treatment equal. I want handful of those, me defending in Deus, reunited of me in volta… Cuts of Christ! To live is much perilous… To want the good with too much force, of incertain way, can yea to be being so wanting the mal, per to initiate. These humans! All they pull the world for itself, for the to concert amended. But capita one solo sees and understands the things of one his world. Amountain, the most supro, most serious was Mediero Vaz. That one man ancient… his Joaozy Ben-Ben, the most brave of all, no-one never can decipher how he by inside consisted. Joca Ramiro— grand man prince!— was politico. Zé Bebelo wanted to be politico, but had and not had luck: fox that lingered. So Candelario so demonized, by to think that was with illness mal. Titao Passos was the by the appreciation of friends: solo per via of them, of his same amities, were that such high so ajagunçoed. Antonio Do— severe bandit. But by half, grand majority half that be. Andalecio, in the profound, a good man-of-good, being raving in his total justice. Ricardao, same, wanted was to be rich in peace: for this he warred. Solo the Hermogenes was that born formed tiger, and assassinite. And the “Ofidios White”? Ah, not me speak. Ah this… joyless mischeivious, that was— that was a poor boy of the destiny… So good, congruous. The Sir heard, I you told: the ruin with the ruin, they terminate by the spine-bushes so to crack— Deus awaits that spendance. Boy!: Deus is patience. The contrary, is the devil. So consumes. The Sir file knife on knife— and file— that so they scrape. Even the rocks of the profound, one of in the other, they go-so aroundabounding even, that the rivulet rolls. Per enquantity, that I think, total as hath, in this world, is because so merits and lacks. Afterly precise. Deus not so reports with rifle, not garrotes the regulation. For what? Quit: goof with goof—one day, some illumination and learn: smart. Solo that, at times, for most auxiliar, Deus begets, in the middle, a pinch of pepper… Therebe? Well, for example: some time, I went of train, there in Seven-Lagoons, for parts of to consult a medical, of name me indicated. He went vested well, and in car of first, by via of the doubts, not me they shadowed for jagunço ancient. It goes and happens, that, close same of me, enfront, he took aseat, returning from the wild North, a mac Jazevedao, delegate professionale. Came with a capanga of his, an undercover, and I well knew the two, of that s’much a was ruin, as the other ruin was. The veracity to say, first I had the strict of me to surpasss for one lonng, to mutate of my place. Judgement me told, meliorate stay. Well, looking, I looked. And— you I tell: never I saw face of man furnished of brutez or malady more, of the them in that. As that was ogre, trussed of thickset, relustered of crude in the eyes small, and armed a chin of stone, toweringbrow; not of mid nor forehead. Not laughed, not so laughed not even one time; but, speaking or silent, the people appeared always to him some teeth, prey pointed of canids. Arr, and blustered, an ittybit. Solo growled curt, low, the mid-words grizzled. He came relooking, historicizing the documents— one by one the leaves with portraits and with the blacks of the digits of jagunços, lifters of horses and criminouses of death. That application of work, in one thing of those, generated the ire in the people. The undercover, busybodyguard, total close, seated joined, attending, excelling of to be dog. Me made a dread, but solo in the goof of the corpus, not in the intern of the courages. One hour, one of those reports fell— and I bent quickly, I knew there precisely by why, not I wanted, not I thought— even today I raise shame of this— I picked the paper of the ground, and delivered to him. Thereof, I say: I had more rage, because I did that; but there yea it was done. The man not even me looked, not even said notone thankfulment. Event he soles of the shoes of his— solo looking— that soles rough thick, bent of enormous, appearing iron bronzed. Because I knew: This Jazevedao, when he apprehended someone, the primary quiet thing that proceeded was that he came entering, sans to have to to say, feigning some hurry, and go stepping on the top of the feet of the poorthings. And that on these occasions he gave laughters, gave… Well, geck! I delivered to him the leaf of paper, and went leaving of there, by to have hand on me of not to destroy by shots that subject. Meat that much they weigh… And umbilicated beginning of belly pot bellied, that me created will… With my lightness, joyful that I’d kill. But, the barbarities that this delegate made and happened, the Sir not even has callus in heart to be able me to hear. He achieved of many men and women to cry blood, for the simple universolo ours here. Sertão. The Sir knows: sertão is where mandates who is strong, with the guile. And bullet is a tidbit of metal… S’much, I say: Jazevedao— one assuch, should of to have, needed? Ah, need. Leather ruined is that calls goad of point. That there be that, after— business particular of he— in the life or in the other, each Jazevedao, accomplished the that he has, desclimbs in his time of pain, too, until to pay the that he gave— compadre mine Quelemem is there, in order to fiscalize. The Sir knows: the peril that is to live… But solo of the mode, of these, by ugly instrument, was that the jagunsaga so finished. Sir thinks that Antonio Do or Olivino Oliviano were going to fix goodies by pure spelling of itself, or by begging of the infelicitous, or by always to hear sermon of father? You I think! In the aims… Of jagunço comported active in order so to repent in the middle of his jagunsagas, solo I lay of one: called Joe Cazuzo— was in smashing of one shotshow, for on the summit of the place Sierra New, district of river rusted, on the stream Traçadal. We made mal minority small, and they closed in order summit of us the personnel of one Coronel Adalvino, forted politico, with many soldiers uniformed in the center, commanding of the Lieutenant Epiphany Helm, that after fixed captain. We lasted hour more hour, and yea gave almost of encircled. There, of misslip, that Joe Cazuzo— man much valiant— so kneeled turned on the ground of the thick, lifted the arms that not even shoots of Jatoba dry, and solo yell, howl clear and howl deaf:— “I saw the Virgin Ours, in the resplendor of the Heavens, with her children of angels!... ” He screamed not touched. — “I saw the Virgin!... ” He ensouled? We desequaled. Bolt for my horse—that I thought— I leaped in mal seat, noteven I knew in which rupture-time I unfastened the halter, of tied up it foot of timber. I flew, arrived. Bullet come. The pasture roared. In the brush, the fear of the people so goes to the whole, one fear intentional. I could to lash out, fated burro brute, giv-that, giv-that. Some two or three bullets so drovein the pad of the mine saddle, they perforated of to tear away almost much the kapok of the filling. Horse trembled in pro, in middle of gallop, I know: thinks in the owner. I not fit of to be more well shrunken. Bulleted came to the sack that I had on the back, with few mine things. And other, of fusil, in ricochet decreed, heated my thigh, sans me wound, the Sir see: bullet does the what to want—so pierced impressed, between in me and the harness! Times crazy… Burumbum!: the horse so kneeled in the fall, dead perhaps, and I yea falling for front, embraced in foliage full, branched and linias, that me swayed and skewered, done I was pendulating in web of spider… Whither? I traversed that life total… Of fear of anxiety, I ruptured to read with mine corpus that forest, I know there — and me fell world below, rolled for the hollow of a grotto closed of shrubs, always me grasped— rolled same assuch: after: after, when I saw mine hands, total on they that not was withdrawn sanguine, was smeared green, on the digits, of leaves living that I pulled and mashed… I landed on the sedge of the profound— and a beast dark gave a releap, with a sneeze, too mad of fright: that was a papa-mel, that I descried; in order to flee, this is solely. Bigger being I, me doused mine overcoat; I spigotted total. And of one bit of thought: if that beast irara lying there then there not had cobra. I took the place of his. Existed cobra notone. I could me to lose. I was solo spineless, softness, but that not deadened, inside, the collisions of the heart. I gasped. I conceived that they came, me kill. Not even did mal, me mattered not. Assuch, some moments, at least I guarded the license of term in order me to rest. Conforming I thought in Diadorim. Solo I thought was in he. One joão-congo sang. I wanted to die thinking in my friend Diadorim, hand-o-bro, who was on the Sierra of WoodO’Bow, almost on the border baiana, with our other half of the so-candelarios… With my friend Diadorim me embraced, sentiment my went-flew right for he… Ay, arr, but: that this mine mouth not has order notone. I am accounting outside, things divagated. In the Sir me confide? Til-that, til-that. Say the angel-of-the-guard… But, conforming I came: after so knew, that same the soldiers of the Lieutenant and the goats of Coronel Adalvino remitted of to respect the blast of that Joe Cazuzo. And that this ended being the man most pacificious of the world, fabricator of oil and sacristan, in the Saint Sundays White. Times! For total, cleaned revelation, I fix thinking. I like. Meliorate, for the idea if well to open, is travelling in train-of-iron. Could, lived to top and to bottom, inside of it. Information that I ask: same in the Heavens, end of end, how is that the soul wins so to forget s’much sufferments and maladies, in the received and in the given? The how? The Sir knows: are things of hideous ofmuch, have. Pain of corpus and pain of idea mark forted, that forted as the total love and rage of hate. Goes, sea… Of luck that, then, the Firmiano, by appellationed Louse-of-Snake, so leoprosized with the leg disconformed, thickening, of that disease that not so cures; and not discern almost more, constant the branchials in the eyes, of the cataracts. Of before, years, had to of so disarray of the jagunsaga. Well, one occasion, some was on the ranch of his, on the High Jeuitai, after accounted—that, turns time, comes subject, he would say: “Me give yearning is of to seize a soldier, and such, for one good flay, with knife blind… But, first, to castrate…” The Sir conceive? Who has more dose of demon in self is Indian, any race of brusque. Folk see nation ofthese, for there profound of the generals of Goias, theofwhere has vagarous grand rivers, of aquas always so clear pleasantly, running of down crystal rosed… Louse-of-Snake gave of sanguine of heathen. Sir me will say: but that he pronounced that out of mouth, manner of to represent that yet not was old decadent. Opus of to oppose, for fear of to be tame, and cause in order so to see respected. Total listened for such rule: palavered of ruins, for more so valued, because we to the environs is hard durability. The worst, but, is that they finish, through the same ford, given of one day to execute the declared, in the real. I saw s’much crudity! Pain not pays to account; if I go, I collide. And me dedrip, three that me sicken, this total. Me convokes that the personnel, today in day, is good of heart. This is, good in the trivial. Malices wildwants, and perversities, always have some, but scarcities. Generation mine, true, was not assuch. Ah, goes to turn a time, in which not is used more to kill people… I yea am old. Good, I was saying: question, this that me excavates… Ah, I formed that question, for compadre mine Quelemem. That me responded: that, for close to heaven, we so amplified so, that total the uglies past so exhaled of not to be—fated sans-modus from time of youngster, mal-arts. As we not lack of to have remorse of the which divulged in the pulsation of his nightmares of one night. Assuch that: fleeced-so, flourished-so! Ahem. For this said, is that the journey to the Heavens is delayed. I confide with compadre mine Quelemem, the Sir knows: reason of creed same that has—that, for total the mal, that so does, one day so repays, the exact. Subject assuch rises three times, in ante of to want to facilitate in any minutia reprehensible… Compadre mine Quelemem never speaks vacant, not subtreats. Solo that this to he not I go to expose. We never should have to declare that accept entire the alien—that is what is the rule of the king! The Sir look…see: the most important and beautiful, of the world, is this: that the people are not always same, still were not completed — but that they go always shifting. They tune or detune. Truth major. Is the that the life me taught. This that me animates, mound. And, other thing: the devil and the brutes; but Deus is treacherous! Ah, a beauty of treacherous— gives like! The force of his, when he wants— boy!— me gives the fear dread! Deus comes coming: no one not sees. He does in the law of gentle— assuch is the miracle. And Deus attacks beautiful, so amusing, so economizes. The well: one day in a tannery, the little knife mine I had dropped inside of a tank, solo soup of bark of tan, stryphnodendron adstringens, angico, there I know. —“Tomorrow I try…”— I said, withmyself. Because it was of night, light notone I not disputed. Ah, then, I found: on the other day, early, the knife, the iron of it, had been gnawed, almost by half, by that aqua dark, total quiet. I left, for more to see. Crack, fuse! Know the what was? Well, in that same of afternoon, there: of the little knife solo so found the handle… The handle, for not to be of cold metal, but of horn of deer. There is: Deus… Good, the Sir heard knows, the that knows me understands… We sum, not think that religion fractures. Sir think the contrary. Visible that, those other times, I painted—belief that the neoglaziovia variegata lifts the flower. Ah, good my joy… Boyhood. But boyhood is task for more later so to deny. Too, I of that of to think in vague in s’much, lost mine hand-of-man for the management hot, in the middle of all. But, today, that I ratiocinated, and think the endeavor, not nor for this not I give for low my competence, in a fire-and-iron. The to see. Would approach would come here with war on me, with bad parts, with other laws, or with excessive looks, and I even draw to ignite this zone, ay, if, if! Is in the mouth of the blunderbuss: is in the rete-te-tem… And lonelyonly not I am, there-of-the. For not this, I was I placed encircle my mine people. Look the Sir: here, close, vereda below, the Paspe — cropper my — is mine. More league, if that, have the Herpetotheres, and have the compadre Ciril, him and three children, I know that they serve. Band of that hand, the Alaripe: knew the Sir the that is that so boasts, in rifleation and by the knife, one cearense did this! After more: the João Innatal, the Quipes, Lophiosilurus-of-claws. And the Fafafa— this gave fights high, all side with me, in the combat old of the Anteater-such: we cleaned the wind of whom not had order of to respirate, and ante these we desencompassed… The Fafafa has a mass of mares. He raises horses good. Even a little more distant, on the ped-of-sierra, of band mine was the Sesfred, Jesualdo, the Nelson, and João Concliz. Some others. The Triol… And not I go valuing? I leave terra with them, of theirs the what is mine is, we close that we not even brothers. For what I want to gather richness? They are there, of arms aireated. Enemy to come, we cross called, gathering: is hour of one good shotshowerment in peace, they exp’riment to see. I say this to the Sir, of confidence. Too, not go to think in double. We want is to work, propose tranquility. Of me, person, I live for mine woman, that total mode-meliorate merits, and for the devotion. Well-to want of mine woman was that me assisted, prayers of hers, graces. Love comes of love. I say. In Diadorim, I think too— but Diadorim is the mine nebulina… Now, well: not I wanted to touch on this more— of the Tineaous; arrive. But has a nevertheless: I ask: the Sir believe, think trust of truth in that parlance, of with the demon so to able to deal with pact? No, no is no? I knew that not there. I spoke of favas. But I like of total good confirmation. To vend you proper soul… Inventionate false! And, soul, the what is? Soul of has to be thing internal supremed, much more of the of inside, and is solo, of the that one if thought: ah, soul sheer! Decision of to vend soul is fearless moll, fantasied of moment, has not the obedience legal. Can I to vend those good terras, thereof of between the Veredas-Four— that are of one Mr. Admiral, who resides in the capital federal? Can I some? Then, if one boy boy is, and for this not so authorizes of to negotiate… And we, this I know, at times is solo fated boy. Mal that in mine life I prepared, I was in a certain infancy in dreams — total runs and arrives so swift —; will be that if hath flame of responsibilities? If dream; yea so did… I gave rapadura to the chump! Ahem. Well. If his soul, and has, it is of Deus established, not even that the person want or not want. Not is vendible. The Sir not thinks? Me declare, frank, I beg. Ah, you I appreciate. You so see that the Sir knows much, in idea firm, beyond of to have letter of doctor. You I appreciate, for much. Your company me gives high pleasures. In terms, I liked that I would live here, or close, was a help. Here not so has conviviation that to instruct. Sertão. Knows the Sir: sertão is where the thought of the people so forms more forted of the than power of the place. To live is much perilous… Eh, that you so go? Yeayea? Is that not. Today, no. Tomorrow, no. Not I consense. The Sir me forgive, but in endeavor of mine friendship accept: the Sir stay. After fifth of-morning-early, the Sir wanting to go, then goes, same me leaves feeling your absence. But, today or tomorrow, no. Visit, here in house, with me, is for three days! But, the Sir really intends to trespass the field this sea of territotires, for sortment of to confer the what exists? You have your motives. Now— I say for me — the Sir comes, came late, Times were, the customs mutate. Almost that, of legitimate loyal, little surplus, not even no excess more nothing. The bands good of valientoughs they reparted their end; many who were jagunço, by ouch pain, beg alms. Same as the herdsmen they doubt of to come in the commerce vested of clothes entire of leather, they think that garb of jerkin is ugly and boor. And even the herd in the shrubbed pasture goes waning less mad, more educated: casted of zebu, dissee with the rest of corralers and captiveborns. Always, in the generals is to the poverty, to the sadness. A sadness that even gladdens. But, then, for a crop reasonable of bizzarancies, I recounsel of the Sir to entest journey more dilated. Not were my desmight, by acids and rheumatism, there I went. I guided the Sir till total. March 2013 San Diego, CA ORIGINAL TEXT NONADA. TIROS QUE O SENHOR ouviu foram de briga de homem não, Deus esteja. Alvejei mira em árvores no quintal, no baixo do córrego. Por meu acerto. Todo dia isso faço, gosto; desde mal em minha mocidade. Daí, vieram me chamar. Causa dumbezerro: um bezerro branco, erroso, os olhos de nem ser – se viu –; e com máscara de cachorro. Me disseram; eu não quis avistar. Mesmo que, por defeito como nasceu, arrebitado de beiços, esse figurava rindo feito pessoa. Cara de gente, cara de cão: determinaram – era o demo. Povo prascóvio. Mataram. Dono dele nem sei quem for. Vieram emprestar minhas armas, cedi. Não tenho abusões. O senhor ri certas risadas... Olhe: quando é tiro de verdade, primeiro a cachorrada pega a latir, instantaneamente – depois, então, se vai ver se deu mortos. O senhor tolere, isto é o sertão. Uns querem que não seja: que situado sertão é por os campos-gerais a fora a dentro, eles dizem, fim de rumo, terras altas, demais do Urucuia. Toleima. Para os de Corinto e do Curvelo, então, o aqui não é dito sertão? Ah, que tem maior! Lugar sertão se divulga: é onde os pastos carecem de fechos; onde um pode torar dez, quinze léguas, sem topar com casa de morador; e onde criminoso vive seu cristo-jesus, arredado do arrocho de autoridade. O Urucuia vem dos montões oestes. Mas, hoje, que na beira dele, tudo dá – fazendões de fazendas, almargem de vargens de bom render, as vazantes; culturas que vão de mata em mata, madeiras de grossura, até ainda virgens dessas lá há. O gerais corre em volta. Esses gerais são sem tamanho. Enfim, cada um o que quer aprova, o senhor sabe: pão ou pães, é questão de opiniães... O sertão está em toda a parte. Do demo? Não gloso. Senhor pergunte aos moradores. Em falso receio, desfalam no nome dele – dizem só: o Que-Diga. Vote! não... Quem muito se evita, se convive. Sentença num Aristides – o que existe no buritizal primeiro desta minha mão direita, chamado a Vereda-da-Vaca-Mansa-deSanta-Rita – todo o mundo crê: ele não pode passar em três lugares, designados: porque então a gente escuta um chorinho, atrás, e uma vozinha que avisando: – “Eu já vou! Eu já vou!...” – que é o capiroto, o que-diga... E um José Simpilício – quem qualquer daqui jura ele tem um capeta em casa, miúdo satanazim, preso obrigado a ajudar em toda ganância que executa; razão que o Simpilício se empresa em vias de completar de rico. Apre, por isso dizem também que a besta pra ele rupeia, nega de banda, não deixando, quando ele quer amontar... Superstição. José Simpilício e Aristides, mesmo estão se engordando, de assim nãoouvir ou ouvir. Ainda o senhor estude: agora mesmo, nestes dias de época, tem gente porfalando que o Diabo próprio parou, de passagem, no Andrequicé. Um Moço de fora, teria aparecido, e lá se louvou que, para aqui vir – normal, a cavalo, dum dia-e-meio – ele era capaz que só com uns vinte minutos bastava... porque costeava o Rio do Chico pelas cabeceiras! Ou, também, quem sabe – sem ofensas – não terá sido, por um exemplo, até mesmo o senhor quem se anunciou assim, quando passou por lá, por prazido divertimento engraçado? Há-de, não me dê crime, sei que não foi. E mal eu não quis. Só que uma pergunta, em hora, às vezes, clareia razão de paz. Mas, o senhor entenda: o tal moço, se há, quis mangar. Pois, hem, que, despontar o Rio pelas nascentes, será a mesma coisa que um se redobrar nos internos deste nosso Estado nosso, custante viagem de uns três meses... Então? Que-Diga? Doideira. A fantasiação. E, o respeito de dar a ele assim esses nomes de rebuço, é que é mesmo um querer invocar que ele forme forma, com as presenças! Não seja. Eu, pessoalmente, quase que já perdi nele a crença, mercês a Deus; é o que ao senhor lhe digo, à puridade. Sei que é bem estabelecido, que grassa nos Santos- Evangelhos. Em ocasião, conversei com um rapaz seminarista, muito condizente, conferindo no livro de rezas e revestido de paramenta, com uma vara de maria-preta na mão – proseou que ia adjutorar o padre, para extraírem o Cujo, do corpo vivo de uma velha, na Cachoeira-dos-Bois, ele ia com o vigário do Campo-Redondo... Me concebo. O senhor não é como eu? Não acreditei patavim. Compadre meu Quelemém descreve que o que revela efeito são os baixos espíritos descarnados, de terceira, fuzuando nas piores trevas e com ânsias de se travarem com os viventes – dão encosto. Compadre meu Quelemém é quem muito me consola – Quelemém de Góis. Mas ele tem de morar longe daqui, na Jijujã, Vereda do Buriti Pardo... Arres, me deixe lá, que – em endemoninhamento ou com encosto – o senhor mesmo deverá de ter conhecido diversos, homens, mulheres. Pois não sim? Por mim, tantos vi, que aprendi. Rincha- Mãe, Sangued’Outro, o Muitos-Beiços, o Rasgaem-Baixo, Faca-Fria, o Fancho-Bode, um Treciziano, o Azinhavre... o Hermógenes... Deles, punhadão. Se eu pudesse esquecer tantos nomes... Não sou amansador de cavalos! E, mesmo, quem de si de ser jagunço se entrete, já é por alguma competência entrante do demônio. Será não? Será? De primeiro, eu fazia e mexia, e pensar não pensava. Não possuía os prazos. Vivi puxando difícil de dificel, peixe vivo no moquém: quem mói no asp’ro, não fantaseia. Mas, agora, feita a folga que me vem, e sem pequenos dessossegos, estou de range rede. E me inventei neste gosto, de especular idéia. O diabo existe e não existe? Dou o dito. Abrenúncio. Essas melancolias. O senhor vê: existe cachoeira; e pois? Mas cachoeira é barranco de chão, e água se caindo por ele, retombando; o senhor consome essa água, ou desfaz o barranco, sobra cachoeira alguma? Viver é negócio muito perigoso... Explico ao senhor: o diabo vige dentro do homem, os crespos do homem – ou é o homem arruinado, ou o homem dos avessos. Solto, por si, cidadão, é que não tem diabo nenhum. Nenhum! – é o que digo. O senhor aprova? Me declare tudo, franco – é alta mercê que me faz: e pedir posso, encarecido. Este caso – por estúrdio que me vejam – é de minha certa importância. Tomara não fosse... Mas, não diga que o senhor, assisado e instruído, que acredita na pessoa dele?! Não? Lhe agradeço! Sua alta opinião compõe minha valia. Já sabia, esperava por ela-já o campo! Ah, a gente, na velhice, carece de ter sua aragem de descanso. Lhe agradeço. Tem diabo nenhum. Nem espírito. Nunca vi. Alguém devia de ver, então era eu mesmo, este vosso servidor. Fosse lhe contar... Bem, o diabo regula seu estado preto, nas criaturas, nas mulheres, nos homens. Até: nas crianças – eu digo. Pois não é ditado: “menino – trem do diabo”? E nos usos, nas plantas, nas águas, na terra, no vento... Estrumes. ... O diabo na rua, no meio do redemunho... Hem? Hem? Ah. Figuração minha, de pior pra trás, as certas lembranças. Mal hajame! Sofro pena de contar não... Melhor, se arrepare: pois, num chão, e com igual formato de ramos e folhas, não dá a mandioca mansa, que se come comum, e a mandioca-brava, que mata? Agora, o senhor já viu uma estranhez? A mandioca-doce pode de repente virar azangada – motivos não sei; às vezes se diz que é por replantada no terreno sempre, com mudas seguidas, de manaíbas – vai em amargando, de tanto em tanto, de si mesma toma peçonhas. E, ora veja: a outra, a mandiocabrava, também é que às vezes pode ficar mansa, a esmo, de se comer sem nenhum mal. E que isso é? Eh, o senhor já viu, por ver, a feiúra de ódio franzido, carantonho, nas faces duma cobra cascavel? Observou o porco gordo, cada dia mais feliz bruto, capaz de, pudesse, roncar e engolir por sua suja comodidade o mundo todo? E gavião, corvo, alguns, as feições deles já representam a precisão de talhar para adiante, rasgar e estraçalhar a bico, parece uma quicé muito afiada por ruim desejo. Tudo. Tem até tortas raças de pedras, horrorosas, venenosas – que estragam mortal a água, se estão jazendo em fundo de poço; o diabo dentro delas dorme: são o demo. Se sabe? E o demo – que é só assim o significado dum azougue maligno – tem ordem de seguir o caminho dele, tem licença para campear?! Arre, ele está misturado em tudo. Que o que gasta, vai gastando o diabo de dentro da gente, aos pouquinhos, é o razoável sofrer. E a alegria de amor – compadre meu Quelemém, diz. Família. Deveras? É, e não é. O senhor ache e não ache. Tudo é e não é... Quase todo mais grave criminoso feroz, sempre é muito bom marido, bom filho, bom pai, e é bom amigo-de-seus-amigos! Sei desses. Só que tem os depois – e Deus, junto. Vi muitas nuvens. Mas, em verdade, filho, também, abranda. Olhe: um chamado Aleixo, residente a légua do Passo do Pubo, no da-Areia, era o homem de maiores ruindades calmas que já se viu. Me agradou que perto da casa dele tinha um açudinho, entre as palmeiras, com traíras, pra-almas de enormes, desenormes, ao real, que receberam fama; o Aleixo dava de comer a elas, em horas justas, elas se acostumaram a se assim das locas, para papar, semelhavam ser peixes ensinados. Um dia, só por graça rústica, ele matou um velhinho que por lá passou, desvalido rogando esmola. O senhor não duvide – tem gente, neste aborrecido mundo, que matam só para ver alguém fazer careta... Eh, pois, empós, o resto o senhor prove: vem o pão, vem a mão, vem o são, vem o cão. Esse Aleixo era homem afamilhado, tinha filhos pequenos; aqueles eram o amor dele, todo, despropósito. Dê bem, que não nem um ano estava passado, de se matar o velhinho pobre, e os meninos do Aleixo aí adoeceram. Andaço de sarampão, se disse, mas complicado; eles nunca saravam. Quando, então, sararam. Mas os olhos deles vermelhavam altos, numa inflama de sapiranga à rebelde; e susseguinte – o que não sei é se foram todos duma vez, ou um logo e logo outro e outro – eles restaram cegos. Cegos, sem remissão dum favinho de luz dessa nossa! O senhor imagine: uma escadinha – três meninos e uma menina – todos cegados. Sem remediável. O Aleixo não perdeu o juizo; mas mudou: ah, demudou completo – agora vive da banda de Deus, suando para ser bom e caridoso em todas suas horas da noite e do dia. Parece até que ficou o feliz, que antes não era. Ele mesmo diz que foi um homem de sorte, porque Deus quis ter pena dele, transformar para lá o rumo de sua alma. Isso eu ouvi, e me deu raiva. Razão das crianças. Se sendo castigo, que culpa das hajas do Aleixo aqueles meninozinhos tinham?! Compadre meu Quelemém reprovou minhas incertezas. Que, por certo, noutra vida revirada, os meninos também tinham sido os mais malvados, da massa e peça do pai, demônios do mesmo caldeirão de lugar. Senhor o que acha? E o velhinho assassinado? – eu sei que o senhor vai discutir. Pois, também. Em ordem que ele tinha um pecado de crime, no corpo, por pagar. Se a gente – conforme compadre meu Quelemém é quem diz – se a gente torna a encarnar renovado, eu cismo até que inimigo de morte pode vir como filho do inimigo. Mire veja: se me digo, tem um sujeito Pedro Pindó, vizinho daqui mais seis léguas, homem de bem por tudo em tudo, ele e a mulher dele, sempre sidos bons, de bem. Eles têm um filho duns dez anos, chamado Valtei – nome moderno, é o que o povo daqui agora apreceia, o senhor sabe. Pois essezinho, essezim, desde que algum entendimento alumiou nele, feito mostrou o que é: pedido madrasto, azedo queimador, gostoso de ruim de dentro do fundo das espécies de sua natureza. Em qual que judia, ao devagar, de todo bicho ou criaçãozinha pequena que pega; uma vez, encontrou uma crioula bentabêbada dormindo, arranjou um caco de garrafa, lanhou em três pontos a popa da perna dela. O que esse menino babeja vendo, é sangrarem galinha ou esfaquear porco. – “Eu gosto de matar...” – uma ocasião ele pequenino me disse. Abriu em mim um susto; porque: passarinho que se debruça – o vôo já está pronto! Pois, o senhor vigie: o pai, Pedro Pindó, modo de corrigir isso, e a mãe, dão nele, de miséria e mastro – botam o menino sem comer, amarram em árvores no terreiro, ele nu nuelo, mesmo em junho frio, lavram o corpinho dele na peia e na taca, depois limpam a pele do sangue, com cuia de salmoura. A gente sabe, espia, fica gasturado. O menino já rebaixou de magreza, os olhos entrando, carinha de ossos, encaveirada, e entisicou, o tempo todo tosse, tossura da que puxa secos peitos. Arre, que agora, visível, o Pindó e a mulher se habituaram de nele bater, de pouquinho em pouquim foram criando nisso um prazer feio de diversão – como regulam as sovas em horas certas confortáveis, até chamam gente para ver o exemplo bom. Acho que esse menino não dura, já está no blimbilim, não chega para a quaresma que vem... Uê-uê, então?!Não sendo como compadre meu Quelemém quer, que explicação é que o senhor dava? Aquele menino tinha sido homem. Devia, em balanço, terríveis perversidades. Alma dele estava no breu. Mostrava. E, agora, pagava. Ah, mas, acontece, quando está chorando e penando, ele sofre igual que se fosse um menino bonzinho... Ave, vi de tudo, neste mundo! lá vi até cavalo com soluço... – o que é a coisa mais custosa que há. Bem, mas o senhor dirá, deve de: e no começo – para pecados e artes, as pessoas – como por que foi que tanto emendado se começou? Ei, ei, aí todos esbarram. Compadre meu Quelemém, também. Sou só um sertanejo, nessas altas idéias navego mal. Sou muito pobre coitado. Inveja minha pura é de uns conforme o senhor, com toda leitura e suma doutoração. Não é que eu esteja analfabeto. Soletrei, anos e meio, meante cartilha, memória e palmatória. Tive mestre, Mestre Lucas, no Curralinho, decorei gramática, as operações, regra-de-três, até geografia e estudo pátrio. Em folhas grandes de papel, com capricho tracei bonitos mapas. Ah, não é por falar: mas, desde o começo, me achavam sofismado de ladino. E que eu merecia de ir para cursar latim, em Aula Régia – que também diziam. Tempo saudoso! Inda hoje, apreceio um bom livro, despaçado. Na fazenda O Limãozinho, de um meu amigo Vito Soziano, se assina desse almanaque grosso, de logogrifos e charadas e outras divididas matérias, todo ano vem. Em tanto, ponho primazia é na leitura proveitosa, vida de santo, virtudes e exemplos – missionário esperto engambelando os índios, ou São Francisco de Assis, Santo Antônio, São Geraldo... Eu gosto muito de moral. Raciocinar, exortar os outros para o bom caminho, aconselhar a justo. Minha mulher, que o senhor sabe, zela por mim: muito reza. Ela é uma abençoável. Compadre meu Quelemém sempre diz que eu posso aquietar meu temer de consciência, que sendo bem-assistido, terríveis bons-espíritos me protegem. Ipe! Com gosto... Como é de são efeito, ajudo com meu querer acreditar. Mas nem sempre posso. O senhor saiba: eu toda a minha vida pensei por mim, forro, sou nascido diferente. Eu sou é eu mesmo. Diverjo de todo o mundo... Eu quase que nada não sei. Mas desconfio de muita coisa. O senhor concedendo, eu digo: para pensar longe, sou cão mestre – o senhor solte em minha frente uma idéia ligeira, e eu rastreio essa por fundo de todos os matos, amém! Olhe: o que devia de haver, era de se reunirem-se os sábios, políticos, constituições gradas, fecharem o definitivo a noção – proclamar por uma vez, artes assembléias, que não tem diabo nenhum, não existe, não pode. Valor de lei! Só assim, davam tranqüilidade boa à gente. Por que o Governo não cuida?! Ah, eu sei que não é possível. Não me assente o senhor por beócio. Uma coisa é pôr idéias arranjadas, outra é lidar com país de pessoas, de carne e sangue, de mil-e-tantas misérias... Tanta gente – dá susto de saber – e nenhum se sossega: todos nascendo, crescendo, se casando, querendo colocação de emprego, comida, saúde, riqueza, ser importante, querendo chuva e negócios bons... De sorte que carece de se escolher: ou a gente se tece de viver no safado comum, ou cuida só de religião só. Eu podia ser: padre sacerdote, se não chefe de jagunços; para outras coisas não fui parido. Mas minha velhice já principiou, errei de toda conta. E o reumatismo... Lá como quem diz: nas escorvas. Ahã. Hem? Hem? O que mais penso, testo e explico: todo-omundo é louco. O senhor, eu, nós, as pessoas todas. Por isso é que se carece principalmente de religião: para se desendoidecer, desdoidar. Reza é que sara da loucura. No geral. Isso é que é a salvaçãoda- alma... Muita religião, seu moço! Eu cá, não perco ocasião de religião. Aproveito de todas. Bebo água de todo rio... Uma só, para mim é pouca, talvez não me chegue. Rezo cristão, católico, embrenho a certo; e aceito as preces de compadre meu Quelemém, doutrina dele, de Cardéque. Mas, quando posso, vou no Mindubim, onde um Matias é crente, metodista: a gente se acusa de pecador, lê alto a Bíblia, e ora, cantando hinos belos deles. Tudo me quieta, me suspende. Qualquer sombrinha me refresca. Mas é só muito provisório. Eu queria rezar – o tempo todo. Muita gente não me aprova, acham que lei de Deus é privilégios, invariável. E eu! Bofe! Detesto! O que sou? – o que faço, que quero, muito curial. E em cara de todos faço, executado. Eu não tresmalho! Olhe: tem uma preta, Maria Leôncia, longe daqui não mora, as rezas dela afamam muita virtude de poder. Pois a ela pago, todo mês – encomenda de rezar por mim um terço, todo santo dia, e, nos domingos, um rosário. Vale, se vale. Minha mulher não vê mal nisso. E estou, já mandei recado para uma outra, do Vau-Vau, uma Izina Calanga, para vir aqui, ouvi de que reza também com grandes meremerências, vou efetuar com ela trato igual. Quero punhado dessas, me defendendo em Deus, reunidas de mim em volta... Chagas de Cristo! Viver é muito perigoso... Querer o bem com demais força, de incerto jeito, pode já estar sendo se querendo o mal, por principiar. Esses homens! Todos puxavam o mundo para si, para o concertar consertado. Mas cada um só vê e entende as coisas dum seu modo. Montante, o mais supro, mais sério – foi Medeiro Vaz. Que um homem antigo... Seu Joãozinho Bem-Bem, o mais bravo de todos, ninguém nunca pôde decifrar como ele por dentro consistia. Joca Ramiro – grande homem príncipe! – era político. Zé- Bebelo quis ser político. (shrink)

Son of a North German businessman, Thomas Mann chose as theme for his early narrative work the conflict between the standards and values of business and those of the artist-writer.Buddenbrooks andTonio Kröger exhibit the tension of values in opposite ways. InThe Magic Mountain, Mann expands his canvas to include military as well as business values in their relation to the creative potential in a young engineer who exiles himself to an Alpine tuberculosis sanatorium to enjoy a unique educational experience. (...) Mann believed that the businessman, like the artist, had a light and dark side, committed by the Protestant ethic, yet bound to entrepreneurial standards of utility and profit. On that account, the businessman, like the creative artist, may experience a certain alientation from ‘Life’. (shrink)

From respected thinker and public intellectual David Dark comes We Become What We Normalize, both a cultural critique and a robust summons to resist complicity when it comes to conversations on politics, religion, and media. Dark offers a spirited call to witness to ethics, community, and change for ourselves and the worlds we inhabit.

There is an ongoing concern about workplace ethics. Many voices say that our educational system ought to do something about it, but they do not agree about how to do this. By the time students reach post‐secondary education, they will have already developed a general moral sense. The concern is whether their moral sense is sufficient for ethical situations in the workplace. If not, post‐secondary education is expected to close the gap. In order to do this, educators need information about (...) what is missing. Educators can set clear, work‐related objectives and use classroom activities to reach those objectives based on an identification of these gaps. (shrink)