The D J Vu And The Authentic

The correlated concepts of the déjà-vu and the authentic suggest that all cultural productions are per se palimpsests whose construction is the result of such processes as reprise, recycling, and recuperating. Reprise is approached as various forms of citation, reference and intertextuality; recycling is defined as commodification and intellectual impoverishment; while recuperating implies the ideological process that makes reappropriation possible. By covering a wide spectrum of research interests, from literature to music, art and the cinema, the seventeen contributions in English or in French explore the political and ethical implications inherent in the creation of culture.

Déjà vu, which doubles and confuses our experience of time, is a psychological phenomenon with peculiar relevance to our contemporary historical circumstances. From this starting point, the acclaimed Italian philosopher Paolo Virno examines the construct of memory, the passage of time, and the “end of history.” Through thinkers such as Bergson, Kojève and Nietzsche, Virno shows how our perception of history can become suspended or paralysed, making the distinction between “before” and “after,” cause and effect, seem derisory. In examining the way the experience of time becomes historical, Virno forms a radical new theory of historical temporality.

This book addresses current issues of computer-assisted language learning (CALL) shared by language-teaching professionals in the new global network society. It focuses on the teaching and learning of Japanese as a second language, but is highly applicable to any language instruction. Collection emerged from previously unpublished presentations by leading Japanese scholars at the International Conference on Computer Technology and Japanese Language Education held at the University of Toronto.

In most of Ben’s experiences, the humble Southern chefs share their long protected family recipes but it’s not an adventure if everyone cooperates. Some of these institutions guard their recipes like members of the family. To the untrained eater, the secret ingredients it takes to create such an iconic dish would remain a bewitching mystery without the original formula. However, Ben’s journey and mission is to deliver the most amazing 100 Southern recipes in Southern Routes. With his charm and ability in the kitchen, award-winning chef, author, and Food Network host Ben Vaughn acquired each recipe–one way or another. If he was unable to get the recipe directly from the source, Ben replicated it himself, only having tasted the dish. After deciphering the exact mix of ingredients, his recipe was put to the test when the recipe gatekeeper gave him the thumbs up. Southern Routes highlights iconic Southern kitchens all throughout the Delta such as… Mat & Naddies and Carlos and Rocky’s in New Orleans; Our Way Café in Decatur, Georgia; McMel’s, City Café, Dipsy Doodle, and Wendell Smith’s Restaurant in Tennessee; and Martha’s Menu in Mississippi This book is more than a recipe book but instead a soulful, informative ride through the most delicious parts of America. Experience the real recipes, real people, and real stories as Ben journeys through the South exploring Southern Routes.

Pańcāstikāya-samgraha or Pańcāstikāya-sāra (known briefly as Pańcāstikāya and spelled commonly as Panchastikay) is one of the four most important and popular works of Ācārya Kundakunda (circa first century B.C.), the other three being Samayasāra, Pravacanasāra and Niyamasāra. The original text is in Prakrit language and contains a total of 173 verses (gāthā). Pańcāstikāya means ‘five-substances-with-bodily-existence’ and these are: the soul (jīva), the physical-matter (pudgala), the medium-of-motion (dharma), the medium-of-rest (adharma), and the space (ākāśa). These five substances collectively constitute the universe-space (loka). Outside this universe-space (loka) is the infinite non-universe-space (aloka), comprising just the pure space (ākāśa). The substance-of-time (kāla dravya) which renders assistance to all substances in their continuity of being through gradual changes is not an ‘astikāya’ since it occupies a single space-point and, therefore, does not possess the characteristic of body (kāya). Pańcāstikāya-samgraha expounds the Jaina metaphysics – the philosophy of being and knowing – including the nature of the pure soul-substance (jīvāstikāya) which is integral to the seven realities (tattva), the nine objects (padārtha), and the six substances (dravya). While the substance (dravya) never leaves its essential character of existence (sattā), it undergoes origination (utpāda), destruction (vyaya) and permanence (dhrauvya). There is inseparable association between the qualities (guņa) and the substance (dravya). The discussion relies on the ‘doctrine of conditional predication’ (syādvāda) and the ‘seven-nuance system’ (saptabhańgī), as expounded by Lord Jina.

This book, which builds on a three-year immersive ethnographic study, argues that what scene participants do and say within the northern soul scene constitutes a claim to belong. For younger members, making claims to belong is problematic in a scene where dominant notions of authenticity held by insiders are rooted in a particular past: the places, people, events, and soundscapes of particular venues during the 1970s. In order to engage with this past, young men and women participate in a range of discursive practices. This book argues that these practices, and the ways they intersect and deviate from dominant notions of authenticity, represent shared and individual negotiations of the 'true soulie'. In doing so, it reveals the rich experiences of the younger generation of this multigenerational music scene, and the ways they establish a claim to belong to a scene first formed before they were born.

When we pick up a copy of a Shakespeare play, we assume that we hold in our hands an original record of his writing. We don't. Present-day printings are an editor's often subjective version of the script. Around 25 percent of any Shakespeare play will have been altered, and this creates an enormous amount of confusion. The only authentic edition of Shakespeare's works is the First Folio, published by his friends and colleagues in 1623. This volume makes the case for printing and staging the plays as set in the First Folio, which preserved actor cues that helped players understand and perform their roles. The practices of modern editors are critiqued. Also included are sections on analyzing and acting the text, how a complex character can be created using the First Folio, and a director's approach to rehearsing Shakespeare with various exercises for both professional and student actors. In conclusion, all of the findings are applied to Measure for Measure.