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17 Rethinking interdisciplinarity: Futurist cinema as metamedium Carolina Fernández Castrillo Carolina Fernández Castrillo Rethinking interdisciplinarity Some of the most innovative artistic expressions at the beginning of the twentieth century came from the Futurist desire for provocation and rupture with tradition. After many unsuccessful attempts at the end of the nineteenth century, Futurism tried to formulate new strategies to reflect the transition of society and the arts to modernity. Its project consisted of an integral restructuring of the universe
time, dealing with the issue of who is ‘leading the narrative’ in co-produced creative work is complex, and sometimes different stages in the project call for more or less stringent roles. But in that messiness there is also a rich space for interdisciplinarity to be cultivated. Researchers can put on the hat of being an artist – and artists can pursue ethnography. We found that interdisciplinary work isn’t simply about having a diverse team, but also about each of us
interdisciplinarity for some time (and indeed has been rendered open to this vision, whether it wishes it or not, by the remorseless financial and epistemic logic of the contemporary university). Nonetheless, we do want to claim that there is something distinctive in these chapters’ willingness to take often rather large methodological risks – a willingness occasioned by the unfamiliar ‘crisis’ conditions within
The theoretical perspective developed in the book suggests that for degrowth transformations to occur, actions in the sites of civil society, business and the state are necessary – and they are necessary also on all scales, including the local, the national and the transnational. For degrowth to materialise, in other words, activities of agents positioned everywhere are required. In conceptualising degrowth in terms of deep transformations, we also highlight that it would necessitate profound changes on all planes of social being: material transactions with nature, social interactions between people, social structure, and people’s inner being. The concluding chapter connects a number of the key arguments made in previous chapters and relates the perspective on deep transformations more systematically to the four planes. In this context, a new, holistic definition of degrowth is proposed. The view of human beings underpinning the perspective is also further explored before various issues meriting further contemplation and interdisciplinary dialogues are identified.
Dorothy Emmet (1904–2000) came to Manchester as a lecturer in philosophy just before the outbreak of the Second World War. She wrote her methodological treatise, The Nature of Metaphysical Thinking (1945), while fire-watching on the University rooftops. Emmet’s philosophy envisages ‘the world as a theatre of activities’. Human beings are both personas (role-players) and persons (creative individuals), and their activity within an unfolding administrative and institutional process can variously ‘form, dissolve, re-form, and sometimes produce a new kind with capabilities for new kinds of activity’. This chapter explores the way in which Emmet’s own creative (and quietly anarchistic) philosophical activity found expression at Manchester among a group of brilliant social scientists and philosophers (including Max Gluckman, Michael Polanyi, W. J. M. Mackenzie and Alistair MacIntyre). Her career shows how much is gained when a creative individual with imagination and intelligence finds herself in the right institutional setting.
Fully revised and updated, The History of Emotions is the most up-to-date and comprehensive guide to the theories, methods, achievements and problems in this field of historical enquiry and its intersections with other disciplines. Historians of emotion borrow heavily from the disciplines of anthropology, psychology, philosophy and neuroscience, and stake a claim that emotions have a past and change over time. This book introduces students and professional historians to the main areas of concern in the history of emotions, discussing how the emotions intersect with other lines of historical research relating to power, practice, society and morality. Providing a narrative of historical emotions concepts, the book is the go-to handbook for understanding the problems of interpreting historical experience, and collating and evaluating all the principal methodological tools generated and used by historians of emotion. It also lays out a historiographical map of emotions history research in the past and present, and sets the agenda for the future of the history of emotions. Chiefly centring on the rapprochement of the humanities and the neurosciences, the book proposes a way forward in which disciplinary lines become blurred. Addressing criticism from both within and without the discipline of history, The History of Emotions demonstrates the field’s centrality to historiographical practice, as well as the importance of this kind of historical work for general interdisciplinary understandings of the value and the meaning of human experience.
This interdisciplinary volume explores the role of images and representation in different borderscapes. It provides fresh insight into the ways in which borders, borderscapes and migration are imagined and narrated by offering new ways to approach the political aesthetics of the border. The case studies in the volume contribute to the methodological renewal of border studies and present ways of discussing cultural representations of borders and related processes. The case studies address the role of borders in narrative and images in literary texts, political and popular imagery, surveillance data, video art and survivor testimonies in a highly comparative range of geographical contexts ranging from northern Europe, via Mediterranean and Mexican–US borderlands to Chinese borderlands. The disciplinary approaches include critical theory, literary studies, social anthropology, media studies and political geography. The volume argues that borderlands and border-crossings (such as those by migrants) are present in public discourse and more private, everyday experience. This volume addresses their mediation through various stories, photographs, films and other forms. It suggests that narratives and images are part of the borderscapes in which border-crossings and bordering processes take place, contributing to the negotiation of borders in the public sphere. As the case studies show, narratives and images enable identifying various top-down and bottom-up discourses to be heard and make visible different minority groups and constituencies.
Introduction Instead of ecological economics offering an integrative approach, it was founded on vague and unstructured appeals to transdisciplinarity, interdisciplinarity, holism, pluralism and eclecticism. The legacy of that start was not generally beneficial. An underlying tension was the incompatibility between openness to anything and the original paradigm-shifting aims. An initially popular
of international law and films. They are: genre, interpretation and interdisciplinarity. Next I offer some suggestions for further research in this field; chiefly, panning out to take in world cinema; investigating the material conditions in which films are produced as relevant context in their interpretation; and using Third World Approaches to International Law (TWAIL) and feminist approaches to analyse the representation of international law in film. Finally, I explore the status of women as providing a justification for the US military intervention in
underlying interdisciplinarity of this volume. While interdisciplinarity is a standard expectation of many ambitious research projects, its practical application is fraught with challenges. Our explorations acknowledge and embrace them, negotiating these challenges as the differing horizons of disciplinary expectations, methodologies and discourse styles, and disciplines’ differing individual stylistic