Against Omniscience: The Case from Essential Indexicals

International Letters of Social and Humanistic Sciences, 2015

James Joyce's hermeneutics of narrative, Husserlian scholars, fictitious theory of history by Stephen Dedalus in Ulysses, interpretation in both terms of modes and meaning, exploration of the implication of passive intentionality, an 'anonymity' seeking for its ontological root, a stoppage on the notion of "as if of", 'noema' and 'noesis' in their technical use, "natürliche Einstellung" and a handful of other issues are all cited here by Heidegger, Merleau-Ponty, Ricoeur and others just to shed more light on findings, insights, observations and conclusions in social and cognitive sciences, by the help of a static and genetic analysis of some key notions like 'intentionality and consciousness' from both historical and systematic perspectives, ranging from Dr. Johnson on Shakespeare to Husserl's guidelines in phenomenology. "Je suis l'empire à la fin de la décadence, Qui regarde passer les grands Barbares blancs En composant des acrostiques indolents…" (Paul Verlaine, Langueur) "…Words, which can make our terrors bravely clear, Can also thus domesticate a fear…"

Re-Presenting Ben Jonson: Text, History, Performance

Narrative, 2013

Keyvan Sheikhalishahi, 2017

Through the nightclub sequence, we analyze how, during ten minutes, the building of suspense is made, which never falls and does not lose its intensity at any time, particularly thanks to a very specific type of editing. Also, this suspense is a tool to convey a discourse on society as well as on technology, through the example of the Terminator.

Cinephile 5.2 (2009): 54-59

Douglas Adams’ Hitchhiker’s Guide to the Galaxy begins with a middle-english house, a middle-english man and an by all means rather unspectacular scenery. This scenery however builds up the contrast, in its odd mediocracy that usually does not deserve the honours of a literary narration. Adams’ vivid fantastical world soon expands beyond the ordinary confinements of this planet across the galaxies, where the protagonist is forced to travel after the destruction of mother earth. In this travel, the central protagonist Arthur Dent comes across multiple creatures and objects only existent in metaphysical form within the fantasy of Douglas Adams. It is these objects that set the question on how Adams uses the rhetorical tool of ekphrasis for describing his world and setting its pace. In this essay I will analyse three distinct scenes within Adams’ work that offer grounds for discussion and dispute about his use of ekphrasis and even anti-ekphrasis not only as literary but also as ironical and humouristic device.

Embodied Encounters: New Approaches to Cinema and Psychoanalysis, 2014

Book chapter from Embodied Encounters: New approaches to Psychoanalysis and Cinema, Edited by Agnieszka Piotrowska. Routledge. This chapter discusses the ontology of the ‘screen’, firstly as a framing device for film and its correspondence in psychoanalysis as a boundary between the conscious and the unconscious and secondly as ‘screen memory’ a predominant, psychological mechanism of displacement. Further, the chapter looks at what would be the implication of removing the screen by discussing an intra-film experience that does away with it altogether in the form of the Diasynchronoscope, an emergent new medium in screen-less animation.

Introduction Well, I'd like to meet you, Why, You have doubtless already noticed that our voices are identical, They do seem to be rather similar, No, not similar, identical José Saramago, The Double A man is sitting in his favourite armchair, green velvet upholstery with a high headrest, reading the final chapters of a book he had begun to read a few days before. He keeps his cigarettes close at hand to be able to fully immerse himself in the story, and sits with his back to the door of his study. The tranquil scenery is underscored by the study's window that looks out upon a park planted with oaks. Once he opens the book, his memory retains the familiar names and images of the characters with ease. Engrossed by the story, he disengages, line by line, from the surrounding reality, and gently slides into the fictional world . . . A man and woman meet secretly in a cabin. The woman kisses the man, but he resists her passion. He has deadly business ahead. After going over their cold-blooded plans once more, they split up. Leaving the cabin with a dagger hidden against his chest, the man follows a path, lined by trees, leading to a house. It is getting dark. He enters the house and, following the woman's instructions, arrives at the door of a large room. With the knife in his hand, he looks inside and sees a man, his back to the door, sitting in an armchair of green velvet upholstery with a high headrest, reading a novel.

Proceedings of the 12th Innovations on Software Engineering Conference (formerly known as India Software Engineering Conference) - ISEC'19, 2019

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2005