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2006, Jan 19; 21:07 ::: Dragostea din Tei (2003) - O-Zone

Dragostea din Tei (2003) - O-Zone [Amazon.com] [FR] [DE] [UK]

O-Zone were a pop group made up of Dan B?lan, Radu Sârbu, and Arsenie Todera?. Originally from Moldova, the band launched in Romania. They mainly play eurodance music and are famous for the single "Dragostea din Tei", a notable summer hit which reached Number 1 in the singles charts of many countries during 2003 and 2004, and Number 3 in the United Kingdom. The follow-up single "Despre Tine" had similar success across Europe.

Despite its multi-platinum status in Europe, O-Zone never even scraped the bottom of the charts in America.--http://en.wikipedia.org/wiki/O-Zone [Jan 2006]

See also: European music - popular music - dance music

2006, Jan 19; 13:34 ::: Penny dreadfuls bibliography

The Penny Dreadful or Strange Horrid and Sensational Tales (1975) - Peter Haining [Amazon.com] [FR] [DE] [UK]

Penny dreadfuls and other Victorian horrors (1977) - Michael Anglo Quinn [Amazon.com] [FR] [DE] [UK]

Popular fiction: Penny dreadfuls, boys' weeklies, and half penny parts (1974) - Laura Quinn [Amazon.com] [FR] [DE] [UK]

See also: penny dreadfuls - popular fiction - British exploitation

2006, Jan 19; 13:34 ::: In Defense of Disco (1979) - Richard Dyer

Dyer, Richard. (1979) "In Defense of Disco." On Record: Rock, Pop, and the Written Word. Edited by Simon Frith and Andrew Goodwin. (New York: Pantheon Books, 1990): 410-18.

Found this when looking for "European popular music" disco. What was locally produced popular music in Europe?

Please compare

  • "European popular music", only 1,010 found at Google, and number one on the list is parlor music
  • "American popular music", Results 1 - 10 of about 242,000 for "American popular music" and the first on the list is American Popular Music 1900 to 1950 An overview of people and events through a study of different musical genres, including blues, jazz, musicals and big band.

If European popular music exists, it is not defined.

See also: Europe - popular music - disco

2006, Jan 19; 13:34 ::: First impressions (2005) - Greg Wilson

I don't think that Greg Wilson's new project First impressions (2005) is commerically available which is a pitty for disco afficionados. The 25 tracks on this double CD all date from December 1975, a couple of months before the arrival of the twelve inch vinyl record. Find more of this type of music on my proto-disco page. [Jan 2006]

See also: proto-disco - twelve inch - Greg Wilson

2006, Jan 19; 13:34 ::: Historical Aspects of Cataloging and Classification (2003) - Martin D. Joachim

Historical Aspects of Cataloging and Classification (2003) - Martin D. Joachim [Amazon.com] [FR] [DE] [UK]

Jules Gay

1. on Page 340:
"... French erotica bibliographer Jules Gay, writing as le C. d'I***, compiled Bibliographie des ouvrages (186 1).11 Hugo Nay, a German bibliographer of erotic literature, using ..."

2. on Page 352:
"... Jules Gay, Bibliographie des principaux ouvrages relatifs à /'amour, aux femmes, au mariage indiquant les auteurs de ces ouvrages. leurs éditions, leur ..."

Hugo Nay

1. on Page 340:
"... Hugo Nay, a German bibliographer of erotic literature, using the name Hugo Hayn, produced Bibliotheca Germanoruon erotica in 1875."

2. on Page 352:
"... Hugo Nay, Bibliotheca Germanorum erotica: Verzeichniss der gesammten deutschen erotischen Literatur mit Einschluss der Uebersetzungen: Nachschlagebuch für Literaturhistoriker, Antiquare, and Bibliothekare (Leipzig, ..."

Hayn, H. Bibliotheca Germanorum Erotica et Curiosa. Munich, 1912-29.

See also: bibliophile - catalogue - classification

2006, Jan 18; 21:34 ::: Eugène-Modeste-Edmond Le Poitevin

Les diables de lithographies (détail), par Eugène-Modeste-Edmond Le Poitevin, 1832, p. 10 © PMVP, cliché Joffre
Image sourced here.

See also: http://www.balnea.net/default.asp?cmd=sheet&id=3&pg=6

See also: 1830s - France - fantastic art

2006, Jan 18; 21:34 ::: William Hogarth

Characters Caricaturas, 1743 (reprinted 1822), by William Hogarth. (Image courtesy The Charles Deering McCormick Library of Special Collections, Northwestern University.)
Image sourced here.

See also: 1740s - UK - caricature - grotesque art - grotesque

2006, Jan 18; 20:34 ::: Femme damnée

"Femme damnée" (huile, Louvre) Anonyme attribué à Octave Tassaert (1800-1874)
Image sourced here.

See also: France - erotic art

2006, Jan 18; 20:34 ::: Fêtes galantes

Flora (1716) - Antoine Watteau
; Gray-black and white chalks with red chalk on brown paper, 32.6 x 28.3 cm; Musée du Louvre, Cabinet des Dessins, Paris
This is not "une fête galante"

Fête Galante is a French term referring to some of the celebrated pursuits of the idle, rich aristocrats in the 18th century -- from 1715 until the 1770's. After the death of Louis XIV in 1715, the aristocrats of the French court abandoned the grandeur of Versailles for the more intimate townhouses of Paris where, elegantly attired, they could play and flirt and put on scenes from the Italian commedia dell'arte.

The term "fête galante" comes from the title of a painting by Antoine Watteau. Other French painters who depicted fêtes galantes included Jean-Honoré Fragonard and François Boucher. The composer Gabriel Fauré later paid a graceful musical hommage to the fêtes galantes in his composition Masques et Bergamasques.

"Fête galante" in French literally means gallant feast or festival but a better translation might be "a celebration of love." --http://en.wikipedia.org/wiki/F%C3%AAtes_galantes [Jan 2006]

See also: France - 1700s - François Boucher - commedia dell'arte

2006, Jan 18; 16:34 ::: The Female Nude (1992) - Lynda Nead

The Female Nude (1992) - Lynda Nead [Amazon.com] [FR] [DE] [UK]

See also: nude - women - erotic art - eroticism

2006, Jan 18; 12:34 ::: The Hidden Persuaders (1957) - Vance Packard

The Hidden Persuaders (1957) - Vance Packard [Amazon.com] [FR] [DE] [UK]
Image sourced here.

Vance Packard (May 22, 1914 - December 12, 1996) was an American journalist, social critic, and author. His million-selling book The Hidden Persuaders, about media manipulation of the populace in the 1950s was a forerunner of pop sociology: science-based thinking without the weight of detail or eloquence, geared for sale to the mass market. --http://en.wikipedia.org/wiki/Vance_Packard [Jan 2006]

See also: hidden - propaganda - consumerism - advertising - 1957

2006, Jan 18; 12:34 ::: The Car (1977) - Elliot Silverstein

The Car (1977) - Elliot Silverstein [Amazon.com] [FR] [DE] [UK]

The Car is a 1977 horror film directed by Elliot Silverstein, written by Michael Butler and Dennis Shryack, and starring James Brolin, Kathleen Lloyd and Ronny Cox. It was produced and distributed by Universal Studios. The film was influenced in part by Steven Spielberg's 1971 thriller Duel and features a mysterious car with a murderous driver. The most memorable thing about the film was the sound effects which featured a hellishly terrifying horn blast the car made whenever it was about to kill somebody.

Tagline: "What evil drives..."

A small New Mexico community is terrorized by a phantom black car that appears out of nowhere and begins running people down. The main character, Sheriff Wade Parent (Brolin), is on a mission to stop the demonic car which may be driven by Satan himself. [edit]

* The phantom car in the film was a customized 1971 Lincoln Continental Mark III designed by famed customizer George Barris who designed the Munster's Koach and the original Batmobile (used in the 1966 television series).
* There were four cars built in six weeks for the filming and all were destroyed during production. Supposedly, a fifth car was built and displayed for a time at Universal Studios but was eventually given back to Barris who later sold it to a private collector in the 1980s.
* The Ertl Company made a limited edition 1:18 scale die cast model of "The Car".
* The "demonic car" concept is also featured in Stephen King's novel and 1983 movie Christine (about a possessed 1958 Plymouth Fury), and also a 1990 FOX movie called Wheels of Terror (which features a driverless Dodge Charger that abducts a little girl).

--http://en.wikipedia.org/wiki/The_Car [Jan 2006]

List of films about possessed or sentient inanimate objects. --http://en.wikipedia.org/wiki/List of films about possessed or sentient inanimate objects [Jan 2006]

See also: car - horror film - 1977 - American cinema

2006, Jan 18; 12:34 ::: Exploding. Plastic. Inevitable. (1966) - Andy Warhol, Paul Morrissey

Andy Warhols Exploding Plastic Inevitable: Multi-Screen-Environment mit den Velvet Underground New York 1967, © Steve Schapiro
image sourced here.

Exploding. Plastic. Inevitable. was the name of a multimedia roadshow instigated by Andy Warhol and largely organised by his right hand man, Paul Morrissey. The show's name was derived by Morrissey through a process of free association as he read aloud the liner notes to Bringing It All Back Home, the 1965 album by Bob Dylan.

The E.P.I. was based around The Velvet Underground and Nico performing a concert, onto which Warhol simultaneously projected two or more of his films and/or slides. Other elements included dancing by Gerard Malanga and Mary Woronov, a strobe light and regular lightshow, and interactive elements such as any number of the Warhol superstars running around with live microphones firing confrontative questions at the audience.

The E.P.I. started out in April 1966 in New York City's The Dom, a venue to which Warhol's Silver Factory held the lease. In May of the same year, the E.P.I. took to the road, touring the United States and Canada. Warhol became progressively less involved, sometimes letting someone stand in and pretend to be him. Eventually, the E.P.I. returned to New York City, where the last of its installments was held in May 1967. --http://en.wikipedia.org/wiki/Exploding._Plastic._Inevitable. [Jan 2006]

Multimedia is the use of several different media to convey information (text, audio, graphics, animation, video, and interactivity). Multimedia also refers to computer data storage devices, especially those used to store multimedia content. --http://en.wikipedia.org/wiki/Multimedia [Jan 2006]

See also: Mary Woronov - The Velvet Underground - 1966 - Paul Morrissey - Andy Warhol - media

2006, Jan 18; 11:34 ::: Secret Cinema (1968)- Paul Bartel

Secret Cinema (1968)- Paul Bartel [Amazon.com] [FR] [DE] [UK]

Almost 30 years before Peter Weir brought us The Truman Show, cinematic cult figure Paul Bartel (of Eating Raoul and Lust in the Dust fame) was the 30-year-old auteur of this half-hour film, a somewhat sleazy bit of surrealism on a similar subject. Amy Vane plays a woman whose every move is recorded on film. She didn't ask for this scrutiny: the woman is the victim of a voyeuristic director, who contrives to hide cameras wherever she goes and show the results in a theater. It is just as warped as it sounds, but it has its own peculiar appeal. The videocassette version of The Secret Cinema includes The Naughty Nurse, a 7-minute chunk of erotica that is best ignored. ~ Hal Erickson, All Movie Guide

Naughty Nurse (1969) plot outline: A doctor and nurse sneak away for a kinky encounter, only to be interrupted by a cop...with a secret of his own. --http://us.imdb.com/title/tt0234320/combined [Jan 2005]

See also: Paul Bartel - 1968

2006, Jan 18; 11:34 ::: Lewis Carroll: Photos and Letters to His Child Friends - Lewis Carroll

Lewis Carroll: Photos and Letters to His Child Friends (1975) - Lewis Carroll [Amazon.com] [FR] [DE] [UK]

Lewis Carroll: Photos and Letters to His Child Friends (1975) - Lewis Carroll [Amazon.com] [FR] [DE] [UK]

Book Description
From one of the Victorian era’s most prominent writers and most talented amateur photographers—24 remarkably original and beautifully conceived pictures of youngsters in charming, graceful poses. Includes delightful images of Alice Liddell, for whom Carroll wrote Alice’s Adventure’s in Wonderland; Effie and Mary Millais, daughters of English painter John Millais; and others. Captions. --from the publisher

See also: Lewis Carroll - photography

2006, Jan 18; 11:34 ::: Postmodernism and Its Critics (1991) - John McGowan

Postmodernism and Its Critics (1991) - John McGowan [Amazon.com] [FR] [DE] [UK]

The term post-modernism is often used pejoratively to describe tendencies perceived of as Relativist, Counter-enlightenment or antimodern, particularly in relationship to critiques of Rationalism, Universalism or Science. It is also sometimes used to describe tendencies in the society which are held to be antithetical to traditional systems of morality. The criticisms of postmodernism are often made complex by the still fluid nature of the term, in many cases the criticisms are clearly directed at poststructuralism and the philosophical and academic movements that it has spawned rather than the larger term postmodernism.

The most prominent recent criticism of postmodern art is that of John Gardner. Gardner wrote that the classification "post-modern" / "modern" applied to the art of his time was an evasion, a stab at nothing - i.e., a move to elude the basic function of criticism, which, as Gardner called it, is to judge art's moral value.

Charles Murray, a strong critic of postmodernism, defines the term:

"By contemporary intellectual fashion, I am referring to the constellation of views that come to mind when one hears the words multicultural, gender, deconstruct, politically correct, and Dead White Males. In a broader sense, contemporary intellectual fashion encompasses as well the widespread disdain in certain circles for technology and the scientific method. Embedded in this mind-set is hostility to the idea that discriminating judgments are appropriate in assessing art and literature, to the idea that hierarchies of value exist, hostility to the idea that an objective truth exists. Postmodernism is the overarching label that is attached to this perspective." [1]

One example is the figure of Harold Bloom, who has simultaneously been hailed as being against multiculturalism and contemporary "fads" in literature, and also placed as an important figure in postmodernism.

Central to the debate is the role of the concept of "objectivity" and what it means. In the broadest sense, denial of the practical possibility of objectivity is held to be the postmodern position, and a hostility towards claims advanced on the basis of objectivity its defining feature. It is this underlying hostility toward the concept of objectivity, evident in many contemporary critical theorists, that is the common point of attack for critics of postmodernism. Many critics characterise postmodernism as an ephemeral phenomenon that cannot be adequately defined simply because, as a philosophy at least, it represents nothing more substantial than a series of disparate conjectures allied only in their distrust of modernism.

This antipathy of postmodernists towards modernism, and their consequent tendency to define themselves against it, has also attracted criticism. It has been argued that modernity was not actually a lumbering, totalizing monolith at all, but in fact was itself dynamic and ever-changing; the evolution, therefore, between "modern" and "postmodern" should be seen as one of degree, rather than of kind - a continuation rather than a "break." One theorist who takes this view is Marshall Berman, whose book All That is Solid Melts into Air (1982) (a quote from Marx) reflects in its title the fluid nature of "the experience of modernity."

As noted above, some theorists such as Habermas even argue that the supposed distinction between the "modern" and the "postmodern" does not exist at all, but that the latter is really no more than a development within a larger, still-current, "modern" framework. Many who make this argument are left academics with Marxist leanings, such as Terry Eagleton, Fredric Jameson, and David Harvey (social geographer), who are concerned that postmodernism's undermining of Enlightenment values makes a progressive cultural politics difficult, if not impossible. For instance, "How can 'we' effect any change in people's poor living conditions, in inequality and injustice, if 'we' don't accept the validity of underlying universals such as the 'real world' and 'justice' in the first place?" How is any progress to be made through a philosophy so profoundly skeptical of the very notion of progress, and of unified perspectives? The critics charge that the postmodern vision of a tolerant, pluralist society in which every political ideology is perceived to be as valid, or as redundant, as the other, may ultimately encourage individuals to lead lives of a rather disastrous apathetic quietism. This reasoning leads Habermas to compare postmodernism with conservatism and the preservation of the status quo.

Such critics often argue that, in actual fact, such postmodern premises are rarely, if ever, actually embraced — that if they were, we would be left with nothing more than a crippling radical subjectivism. They point to the continuity of the projects of the Enlightenment and modernity as alive and well, as can be seen in the justice system, in science, in political rights movements, in the very idea of universities, and so on.

To some critics, there seems, indeed, to be a glaring contradiction in maintaining the death of objectivity and privileged position on one hand, while the scientific community continues a project of unprecedented scope to unify various scientific disciplines into a theory of everything, on the other. Hostility toward hierarchies of value and objectivity becomes problematic to them when postmodernity itself attempts to analyse such hierarchies with, apparently, some measure of objectivity and make categorical statements concerning them.

They see postmodernism, then as, essentially, a kind of semantic gamesmanship, more sophistry than substance. Postmodernism's proponents are often criticised for a tendency to indulge in exhausting, verbose stretches of rhetorical gymnastics, which critics feel sound important but are ultimately meaningless. In the Sokal Affair, Alan Sokal, a physicist, wrote a deliberately nonsensical article purportedly about interpreting physics and mathematics in terms of postmodern theory, which was nevertheless published by the Left-leaning Social Text, a journal which he and most of the scientific community considered as postmodernist.

Although Ken Wilber embraces many aspects of post-modernism, he distinguishes between a healthy form and an unhealthy 'extreme' form. Inherent in the extreme version is the irreconcilability of the performative contradiction. Wilber argues postmodernism must take the stance that its view is 'better' than what preceded it (modernity, Enlightenment, meta-narratives, positivism, etc.). This intrinsic and silent judgement that postmodernism imposes on its predessors is in itself not only a value judgement (a thing it often rejects), but a hierarchy in itself (a hierarchy of values). Wilber claims his recent work in integral theory addresses these performative contradictions, while retaining many of the important contributions of postmodernism. Wilber's approach is distinguished from other critiques by asking a different question. It does not ask whether postmodernism, or modernism, or any other system of thought as 'correct' or 'not correct'. Rather, it asks what are the emergent qualities of 'consciousness' that allow all of these systems of thought to arise in the first place? And, what important aspect of truth do they have to contribute?

In response to the critics of postmodernism, many people suggest that no "postmodern" ethos or movement has actually taken practical form, and that the term "postmodernism" has been coined by traditionalist intellectuals as a byproduct of their paranoia and resentments towards their less traditonal contemporaries. --http://en.wikipedia.org/wiki/Postmodernism#Postmodernism_and_its_critics [Jan 2006]

See also: postmodernism - Criticism - John McGowan

2006, Jan 17; 11:34 ::: The Revolution in Popular Literature : Print, Politics and the People, 1790-1860 (2004) - Ian Haywood

The Revolution in Popular Literature : Print, Politics and the People, 1790-1860 (2004) - Ian Haywood [Amazon.com] [FR] [DE] [UK]

Book Description
This survey of the evolution of British popular literature during the Romantic and Victorian periods relies on a broad range of archival and primary sources. Arguing that radical politics played a decisive role in the transformation of popular literature, Ian Haywood charts key moments in the history of "cheap" literature. The book accordingly casts new light on many neglected popular genres and texts: the "pig's meat" anthology, the female-authored didactic tale, and Chartist fiction.

About the Author
Ian Haywood is Reader in English at the University of Surrey Roehampton. He is the author of The Making of History: A Study of the Literary Forgeries of James Macpherson and Thomas Chatterton (1986), Faking It: Art and the Politics of Forgery (1987), Romantic Period Writings 1798-1832: An Anthology (1998 co-edited with Zachary Leader) and Brave New Causes: Women in British Postwar Fictions (1998 co-written with Deborah Philips).

See also: popular fiction - radical - UK - 1800s - British literature

2006, Jan 17; 10:34 ::: The League of Extraordinary Gentlemen (2002) Alan Moore

The League of Extraordinary Gentlemen (2002) Alan Moore [Amazon.com] [FR] [DE] [UK]

See also: Alan Moore - adventure novel - UK - comics - British literature

2006, Jan 17; 11:07 ::: Mastercuts presents: Classic Electro (1994) - Various artists

Mastercuts presents: Classic Electro (1994) - Various artists [Amazon.com] [FR] [DE] [UK]

1. Walking on sunshine - Rockers Revenge & Donnie Calvin
2. Don't make me wait - Peech Boys [10 minute version]
3. White lines (don't do it) - Grandmaster Flash & Melle Mel
4. Hip hop be bop (Don't stop) - Man Parrish
5. Rockit - Hancock, Herbie
6. Smurf - Brunson, Tyrone
7. In the bottle - COD
8. London bridge is falling down - Newtrament
9. Al Naafiysh (The soul) - Hashim
10. Magic's wand - Whodini
11. Wildstyle - Time Zone
12. Adventures of Grandmaster Flash on the wheels of steel - Grandmaster Flash & The Furious Five

See also: Classic Electro (1994) - electro - electro-funk

2006, Jan 17; 10:34 ::: Essays on the Blurring of Art and Life (1993/2003) - Allan Kaprow

Essays on the Blurring of Art and Life (1993/2003) - Allan Kaprow [Amazon.com] [FR] [DE] [UK]

Allan Kaprow helped to develop the "Environment" and "Happening" in the late 1950s and 1960s, as well as their theory. His Happenings - some 200 of them - evolved over the years, and in their present humorous form are nearly indistinguishable from ordinary life. Kaprow's work attempts to integrate art and life. Through Happenings, the separation between life and art, and artist and audience becomes blurred. He has published extensively and is Professor Emeritus in the Visual Arts Department of the University of California, San Diego. Kaprow is also known for the idea of "un-art", found in his essay "Art Which Can't Be Art" --http://en.wikipedia.org/wiki/Allan_Kaprow [Jan 2006]

See also: happenings - art - life

2006, Jan 16; 23:07 ::: Verisimilitude

Verisimilitude, in literature and film, is how fully the characters and actions in a work conform to our sense of reality. To say that a work has a high degree of verisimilitude means that the work is very realistic and believable – that it is "true to life".

This is the illusion and authenticity in a work of literature.

Also the willingness to suspend one's disbelief (even if the events or fictitious representations might otherwise be considered preposterous) when the intensity of the story or interest in the characters overrides the need to believe that things are scientifically correct.

This device helps the writer present the work as true which was particularly important in a time when the Church taught that reading fiction was sinful. Authors use actual people, places, and things toward this end, but also realistic character and setting detail and realistic dialogue. Note how Chaucer, in The Canterbury Tales, uses London and Canterbury, a pilgrimage that actually took place yearly, a real inn in a real place, authentic description of clothing and occupations and realistic dialogue. --http://en.wikipedia.org/wiki/Verisimilitude [Jan 2006]

See also: suspension of disbelief - story - truth - realism - reality - fiction - authenticity

2006, Jan 16; 20:07 ::: Fictionalized

To treat as or make into fiction: “has fictionalized his people and their town, but we know they are real” (Harper's). --AHD

convert into the form or the style of a novel --WordNet

In films and literature, this usually means: based on a true story.


-- [Jan 2006]

See also: story - truth - reality - fiction - false document

2006, Jan 16; 20:07 ::: Total Eclipse (1995) - Agnieszka Holland

Total Eclipse (1995) - Agnieszka Holland [Amazon.com] [FR] [DE] [UK]

Total Eclipse is a 1995 movie directed by Agnieszka Holland that depicts a fictionalized account of the intense but also abusive homosexual relationship between the two 19th century French poets, Paul Verlaine (David Thewlis) and Arthur Rimbaud (Leonardo DiCaprio), a time when both of them experienced a height of creativity.

Director Holland has built a reputation of making films that are really good or bad. In this case, most critics felt that the latter was the case. The most common criticism was that the film never explained the importance of these two great poets' works, especially their role in the development of the decadence or symbolism movement. The film did little for character development aside from showing the two famous French poets acting as if they were modern American college students on spring break.

Critics also felt that the film created a limited sense of what life was like in late nineteenth century Europe. It ignores important parts of the two poets' history, before and after they met, and thus makes it even harder to understand why a film about their lives was made. Thus, if you are not familiar with late nineteenth century French history, you are not going to understand or appreciate what is happening in the film.

Critics did generally feel that the acting, musical score and cinematography were all well done, although some felt that DiCaprio played the character too closely to his role in the film The Basketball Diaries. Gay film critics noted how the film allowed the two poets to come out of the closet and made a point to deal with the gay and straight love scenes as if they were morally equal.

The Motion Picture Association of America gave the film an R rating for profanity, nudity, violence, drug usage, and simulated heterosexual and homosexual sex scenes. --http://en.wikipedia.org/wiki/Total_Eclipse_%28film%29 [Jan 2006]

See also: French literature - gay cinema - Arthur Rimbaud - 1870s

2006, Jan 16; 20:07 ::: Oldest Profession (1967) - Various

Le Plus vieux métier du monde (1967) - Various [Amazon.com] [FR] [DE] [UK]

Segments directed by Claude Autant-Lara, Mauro Bolognini, Philippe de Broca, Jean-Luc Godard, Franco Indovina and Michael Pfleghar. --http://en.wikipedia.org/wiki/Le_Plus_vieux_m%C3%A9tier_du_monde

See also: prostitution - France - 1967 - film

2006, Jan 16; 20:07 ::: Post-feminism

La Maman et La Putain / The Mother and the Whore (1973) - Jean Eustache [Amazon.com] [FR] [DE] [UK]

Post-feminism, or postfeminism, is an anti-essentialist philosophy that opposes simplistic gender constructs of binary opposition (i.e., man and woman) in order to explore and identify conceptions of women outside of the mother/whore dichotomy. Post-feminist discourse examines the gradual elimination of another form of binary opposition as well: "feminists" versus "non-feminists". The defactionalization of these once clearly-delineated groups is a result of the success of feminist praxis and activism in making gender inequality a concern of mainstream culture, in Western civilization and in other sociocultural contexts.

The term post-feminism does not imply that the era of feminist theory and activism have concluded (victoriously or otherwise). Rather, post-feminism acknowledges that the fractured identity of the individual has changed in the postmodern society, informed by social change predicated in part by feminist influence; it is a tangential evolution of feminist thought.

The work of Angela Carter (especially her 1977 book The Passion of New Eve) and various "gender-bending" authors—such as Jeanette Winterson, Patricia Duncker, and Judith Butler—exhibit nuances of post-feminist thought.

Pornography is often cited as the first post-feminist industry, since it breaks the mother/whore dichotomy, and commoditizes gender and sexuality. Since many people decry pornography as inherently mysogynistic, some may confuse post-feminist politics with misogyny. --http://en.wikipedia.org/wiki/Post-feminism [Jan 2006]

See also: post- - feminism

2006, Jan 16; 20:07 ::: The Test Drive (2005) - Avital Ronell

The Test Drive (2005) - Avital Ronell [Amazon.com] [FR] [DE] [UK]

Avital Ronell is Professor and Chair of German and Professor of Comparative Literature, New York University, as well as a member of the faculty of the European Graduate School. She is a literary critic, feminist, and philosopher, perhaps best known as the "black lady" of deconstruction. --http://en.wikipedia.org/wiki/Avital_Ronell [Jan 2006]

See also: deconstruction - USA - Germany - Jacques Derrida

2006, Jan 16; 20:07 ::: Analytical philosophy's reception of continental philosophy

Because continental philosophy is not a specific school or doctrine, individual philosophers often have widely different views on different streams within it. Hegel, Marx, and Nietzsche are widely read and taught by Anglo-American philosophers, and they are usually recognized as important thinkers, even if they are not as widely agreed with. Early twentieth-century thinkers are less accepted; Sartre or Heidegger is more likely to be dismissed as incoherent, pompous, or simply worthless. Movements since then are in the lowest repute in philosophy departments: many analytic philosophers have published outright the claim that Derrida, for example, is simply a charlatan. --http://en.wikipedia.org/wiki/Continental_philosophy#Differences_from_analytic_philosophy [Jan 2006]

See also: continental philosophy - Europe - Germany - France - Jacques Derrida

2006, Jan 16; 10:07 ::: Modern Times (1936) - Charlie Chaplin

Modern Times (1936) - Charlie Chaplin

See also: Modern Times (1936) - modernism - industrial revolution - 1936 - film

2006, Jan 16; 10:07 ::: Train wreck at Montparnasse, France, 1895

Train wreck at Montparnasse, France, 1895

Technology cannot exist without the potential for accidents. For example, the invention of the locomotive also entailed the invention of the rail disaster. Virilio sees the Accident as a rather negative growth of social positivism and scientific progress. The growth of technology, namely television, separates us directly from the events of real space and real time. We lose wisdom, lose sight of our immediate horizon and resort to the indirect horizon of our dissimulated environment. From this angle, the Accident can be mentally pictured as a sort of "fractal meteorite" whose impact is prepared in the propitious darkness, a landscape of events concealing future collisions. Even Aristotle claimed that "there is no science of the accident," but Virilio disagrees, pointing to the growing credibility of simulators designed to escape the accident -- an industry born from the unholy marriage of post-WW2 science and the military-industrial complex. A good example of Virilio's integral accident is Hurricane Katrina and the disasterous events that followed, which brought the eyes of the world upon a single nexus of time and place. --http://en.wikipedia.org/wiki/Paul_Virilio#The_integral_accident [Jan 2006]

See also: 1895 - accident - Paris - Paul Virilio - crash

2006, Jan 16; 10:07 ::: Pop albums that have consistently appeared in top lists

While it is impossible to name the greatest album ever made, it is possible to discuss albums that have been named as candidates. The criteria usually consist of critical and commercial reception, sales, and awards, even though awards usually go to the best-selling artists and using sales as a criterion to judge music is considered quite dubious.

The article divides itself in

  • albums acclaimed by critics
  • best selling albums
  • genre-creating albums
--http://en.wikipedia.org/wiki/Pop_albums_that_have_consistently_appeared_in_top_lists [Jan 2006]

See also: album - success - appeal - greatness - pop music - music criticism - music genre - bestseller - commericial

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