A Modern Perspective On Type Theory: From Its Origins Until Today
The intellectual basis of the Renaissance was its version of humanism, derived from the concept of Roman humanitas and the rediscovery of classical Greek philosophy, such as that of Protagoras, who said that "man is the measure of all things". This new thinking became manifest in art, architecture, politics, science, and literature. Early examples were the development of perspective in oil painting and the revived knowledge of how to make concrete. Although the invention of metal movable type sped the dissemination of ideas from the later 15th century, the changes of the Renaissance were not uniform across Europe: the first traces appear in Italy as early as the late 13th century, in particular with the writings of Dante and the paintings of Giotto.
A Modern Perspective on Type Theory: From Its Origins Until Today
As Freud expanded his sphere of inquiry to include basic questions about moral and political life, he inspired intellectuals and artists to take his theories about conflict, desire, and the unconscious into new areas. These theories seemed to many to open promising new avenues for understanding the successes and failures of modern society. Others thought that these routes led straight to deception -- or worse. The first part of this section deals with the professional expansion of psychoanalysis and the critical reaction to that expansion. Next the exhibition examines Freud's theories of society, from his speculation on its origins to his views of the contemporary world. The violent crises that shook the world at the end of Freud's life are the subject of the final part of this section.
As a consequence of the new technological dynamics, the modernists felt a sense of constant anticipation and did not want to commit to any one system that would thereby harness creativity, ultimately restricting and annihilating it. And so, in the arts, for instance, at the beginning of the 20th-century, artists questioned academic art for its lack of freedom and flirted with so many isms: secessionism, fauvism, expressionism, cubism, futurism, constructivism, dada, and surrealism. Pablo Picasso, for instance, went as far as experimenting with several of these styles, never wanting to feel too comfortable with any one style. The wrestling with all the new assumptions about reality and culture generated a new permissiveness in the realm of the arts. The arts were now beginning to break all of the rules since they were trying to keep pace with all of the theoretical and technological advances that were changing the whole structure of life. In doing so, artists broke rank with everything that had been taught as being sacred and invented and experimented with new artistic languages that could more appropriately express the meaning of all of the new changes that were occurring. The result was a new art that appeared strange and radical to whoever experienced it because the artistic standard had always been mimesis, the literal imitation or representation of the appearance of nature, people, and society. In other words, art was supposed to be judged on the standard of how well it realistically reflected what something looked or sounded like.This mimetic tradition had originated way back in ancient Greece, had been perfected during the Renaissance, and had found prominence during the nineteenth-century. But for modern artists this old standard was too limiting and did not reflect the way that life was now being experienced. Freud and Einstein had radically changed perception of reality. Freud had asked us to look inwardly into a personal world that had previously been repressed, and Einstein taught us that relativity was everything. And, thus, new artistic forms had to be found that expressed this new subjectivity. Artists countered with works that were so personal that they distorted the natural appearance of things and with reason. Each individual work begged to be judged as a self-sufficient unit which obeyed its own internal laws and its own internal logic, thereby attaining its own individual character. No more conventional cookie-cutter forms to be superimposed on human expressionWhat were some of the artistic beliefs that the modernists adopted? Above all they embraced freedom, and they found it in the artistic forms and emotions of the primitive cultures of Africa, the Orient, the Americas and Oceania. This act was the repudiation of all of the stylistic refinements that were the basis of 19th-century artistic endeavor. On the one hand, primitivism represented the simplification of form, which was to become one of the hallmarks of modernism. This abstraction of form suggested that some essential structure, previously hidden by realistic technique, would come to light. Art had, according to the modernists, become too concerned with irrelevant sophistications and conventions that detracted from the main purpose of art: the discovery of truth. On the other hand, primitivism was the expression of all that civilized man had to repress in order to enter into contract with society. According to Sigmund Freud's Civilization and Its Discontents, in order for man to partake in civilized society, he had had to lay aside many uncivilized urges within the self, such as the natural appetite for adultery, incest, murder, homosexuality, etc., all held as taboos. It is this repression of natural desires that, Freud argues, is the source of modern neurosis. As a Jew, Freud was too well acquainted with the THOU SHALL NOTS of the Ten Commandments. Symbolically, the embrace of primitivism is a negation of the very principles of the Judeo-Christian tradition and an affirmation of authentic expression of that hidden self that only finds expression at night when we dream.The modernist interest in primitivism also expressed itself in its correlative, the exploration of perversity. This obsession with the forbidden and the lurid was tantamount to the re-discovery of passion, a way of life which so many creative people at the time believed to have been repressed or had lain dormant. Frederich Nietzsche blames this dormancy on the 19th-century's preoccupation with form. In his seminal work The Birth of Tragedy, Nietzsche had traced the origins and development of drama back in Ancient Greece to the balance that existed between two gods who existed in opposition to one another, Apollo and Dionysius. Apollo represented the essence of light, rationality, civility, culture, and restraint. In contrast, Dionysius suggested wine, the primitive urge, all that was uncivilized. Although these two gods existed in opposition to one another, they were both, nevertheless, revered equally, thus striking a balance between form (the Apollonian) and creative impulse (Dionysius). The modernists concurred with Nietzsche that art had degenerated because it was too concerned with the rules of form and not enough with the creative energies that lie underneath the surface.It is that exploration of what is underneath the surface that the modernists were so keen about, and what better way to do so than to scrutinize man's real aspirations, feelings, and actions. What was revealed was a new honesty in this portrayal: disintegration, madness, suicide, sexual depravity, impotence, morbidity, deception. Many would assail this portrayal as morally degenerate; the modernists, on the other hand, would defend themselves by calling it liberating.
According to the evolutionary perspective, the only reason that the human race continues to survive and continues to function in the best way possible is through natural selection. This is believed to be the way that the human race has come from the caveman era to the modern era as far as skills, traits and abilities.
The course covers the development of Judaism from its biblical origins until the modern era. The course focuses on developments in Jewish thought and religion and the historical and social contexts within which these developments occurred. The course uses two books: Robert M. Seltzer, Jewish People, Jewish Thought and Judith Baskin, Jewish Women in Historical Perspective. This is also a course reader. The course requires three short papers, a book review, a student diary, and worksheets on each chapter in Seltzer. The course is taught in a lecture-discussion format.
This course will introduce ways to interpret human experience through the history of human relations to nature. It historicizes changing concepts of and relations to nature from early modern to contemporary Japan, while providing transnational and comparative perspectives on the topic at hand. Readings on the place of nature in shaping human society and human subjectivity, as well as nature's relationship to political ideologies, are combined with readings specific to historical time and space. We will look at various primary sources for our practice of interpretation, such as a philosophical essay by Japan's foremost primatologist, a cookbook, and popular anime like Princess Mononoke, among other forms of texts, and relate them to specific historical contexts. We will also attempt to interpret our own relations to nature. How do our relations to nature help us to understand ourselves in our given historical time and space? How and why do we practice historical interpretation? You will give presentations, write short review and response essays, and produce a final paper.
This is an interdisciplinary course exploring (1) the politics of urban cultural production (2) the understanding of modern China from the perspectives of the marginal areas and groups, and (3) popular discourses surrounding issues of vernacular modernity and nationhood in twentieth-century China. In our context, China means not only the bounded territory of China, but also Hong Kong, Taiwan, and overseas Chinese communities around the globe. Combining film, literature, and cultural history, we discuss the extent of exploring marginal areas, groups, and cultures can deepen our understanding of the development of Chinese nationalism and modernity in the twentieth century.