Wild King Cobras, Ophiophagus hannah, are known to prey almost exclusively on snakes. We observed opportunistic ingestion of a plastic bag by a radio-tracked adult male O. hannah, which was detrimental to the health o...Wild King Cobras, Ophiophagus hannah, are known to prey almost exclusively on snakes. We observed opportunistic ingestion of a plastic bag by a radio-tracked adult male O. hannah, which was detrimental to the health of the individual and likely lead to its death. Our observation demonstrates that improper disposal of food and plastic waste can be a threat to snakes, highlighting the need to maintain a waste-free environment, especially in areas inhabited by vulnerable species.展开更多
Hannah Arendt, the new film by the German director Margarethe Von Trotta, does not seem just like another trying to represent philosophy through the classic cinematic storytelling. It builds instead a perfect dialogue...Hannah Arendt, the new film by the German director Margarethe Von Trotta, does not seem just like another trying to represent philosophy through the classic cinematic storytelling. It builds instead a perfect dialogue between these two practices that never encroach each other： There is not any doctrine that prevents cinema＇s freedom to create images and any philosophy claim that forces cinema to find in images an alternative way of expression. Von Trotta leaves any biopic form and stages a harmonic building where cinema fulfills philosophy and philosophy fulfills cinema. In this way she gets an outright practical exhibition of a theory, the ＂banality of evil＂. We want to comprehend the reasons of this perfect building analyzing this film, its characters with their acts, all the images their montage, and editing, everything that supports the Arendt＇s philosophical notion. We work on the film with the philosophical categories created by Gilles Deleuze to study the history of cinema in two essays, Image-mouvement and Image-time. In this way we can unfold how Margarethe Von Trotta represents a theory through images, without any word as intermediary展开更多
This paper argues that political theorists have underestimated the power of detachment in political action. It tries to problematize their failure to incorporate the spectator＇s figure into their literature by indica...This paper argues that political theorists have underestimated the power of detachment in political action. It tries to problematize their failure to incorporate the spectator＇s figure into their literature by indicating the modern social condition that requires an alternative mode of actorship. To achieve this goal, this paper turns to Hannah Arendt, and conducts a detailed reinterpretation of her work. It proceeds in three steps. First, it highlights the oxymoronic phrase of ＂active non-participation＂ by a non-acting spectator. Secondly, against the standard way of taking Socrates as her ideal thinker and actor, it takes up Thoreau to discover such a model while bringing the notion of detachment to her discussion of political action. Thirdly, it attempts to defend a rather unorthodox interpretative move that tries to reconcile the political and the mental modes of life in Arendt＇s work by giving a set of evidence to show her deep-seated desire to look at the tradition from a fresh point of view.展开更多
文摘Wild King Cobras, Ophiophagus hannah, are known to prey almost exclusively on snakes. We observed opportunistic ingestion of a plastic bag by a radio-tracked adult male O. hannah, which was detrimental to the health of the individual and likely lead to its death. Our observation demonstrates that improper disposal of food and plastic waste can be a threat to snakes, highlighting the need to maintain a waste-free environment, especially in areas inhabited by vulnerable species.
文摘Hannah Arendt, the new film by the German director Margarethe Von Trotta, does not seem just like another trying to represent philosophy through the classic cinematic storytelling. It builds instead a perfect dialogue between these two practices that never encroach each other： There is not any doctrine that prevents cinema＇s freedom to create images and any philosophy claim that forces cinema to find in images an alternative way of expression. Von Trotta leaves any biopic form and stages a harmonic building where cinema fulfills philosophy and philosophy fulfills cinema. In this way she gets an outright practical exhibition of a theory, the ＂banality of evil＂. We want to comprehend the reasons of this perfect building analyzing this film, its characters with their acts, all the images their montage, and editing, everything that supports the Arendt＇s philosophical notion. We work on the film with the philosophical categories created by Gilles Deleuze to study the history of cinema in two essays, Image-mouvement and Image-time. In this way we can unfold how Margarethe Von Trotta represents a theory through images, without any word as intermediary
文摘This paper argues that political theorists have underestimated the power of detachment in political action. It tries to problematize their failure to incorporate the spectator＇s figure into their literature by indicating the modern social condition that requires an alternative mode of actorship. To achieve this goal, this paper turns to Hannah Arendt, and conducts a detailed reinterpretation of her work. It proceeds in three steps. First, it highlights the oxymoronic phrase of ＂active non-participation＂ by a non-acting spectator. Secondly, against the standard way of taking Socrates as her ideal thinker and actor, it takes up Thoreau to discover such a model while bringing the notion of detachment to her discussion of political action. Thirdly, it attempts to defend a rather unorthodox interpretative move that tries to reconcile the political and the mental modes of life in Arendt＇s work by giving a set of evidence to show her deep-seated desire to look at the tradition from a fresh point of view.
