〉AT：Jerde在城市综合体方面的成功实践一直被业界所认同。以最早在1985年设计的圣地亚哥Horton Plaza为例,该项目成功地复兴了圣地亚哥的活力与经济。几年之后,面临城市人口大量流动、社区死气沉沉的日本福冈,同样也因Jerde成功设计了...〉AT：Jerde在城市综合体方面的成功实践一直被业界所认同。以最早在1985年设计的圣地亚哥Horton Plaza为例,该项目成功地复兴了圣地亚哥的活力与经济。几年之后,面临城市人口大量流动、社区死气沉沉的日本福冈,同样也因Jerde成功设计了Canal City Hakata而再次复活,不仅凝聚了当地人,还吸引了世界各地游客的到访,即使现在看来,它仍然非常成功。展开更多
This research paper explores the intersection of existential philosophy and psychological disorders in William Shakespeare’s Hamlet,with a focus on Narcissistic Personality Disorder(NPD)as viewed through the existent...This research paper explores the intersection of existential philosophy and psychological disorders in William Shakespeare’s Hamlet,with a focus on Narcissistic Personality Disorder(NPD)as viewed through the existentialist lens of Simone de Beauvoir.Drawing upon Beauvoir’s existentialist framework,the study delves into the complexities of identity,agency,and societal expectations as portrayed in the characters of Gertrude and Ophelia.Through an interdisciplinary approach,the paper examines how existential crises intertwine with narcissistic behaviors,shedding light on the psychological intricacies of Shakespeare’s iconic figures.By synthesizing literary analysis with psychological insights,the study offers valuable contributions to our understanding of human psychology,societal dynamics,and the timeless themes of existential authenticity portrayed in literature.展开更多
This essay has two strands.It examines Simone White’s writing on U.S.Trap in Dear Angel of Death(2017),bringing in questions of gender and of the history of writings of“The Music,”in dialogue with thinkers such as ...This essay has two strands.It examines Simone White’s writing on U.S.Trap in Dear Angel of Death(2017),bringing in questions of gender and of the history of writings of“The Music,”in dialogue with thinkers such as Amiri Baraka and Nathaniel Mackey.Historicizing writings on Black music,and their intersections with questions of gender and class,the essay also reflects on the relations between U.S.and U.K.thinking on anti-blackness and music,and sketches some speculative lineages for the different poetic traditions from which such work emerges.Exploring Trap’s address to male desire and vulnerability within the context of anti-black violence and the American carceral State,White hears in Trap something beyond nihilism,even if only as proxy or metaphor—an expression of desire and horror which is the threat of aliveness in the face of social death.The essay also explores U.K.-born,U.S.-based D.S.Marriott’s engagement with grime in his most recent book of poetry,Duppies(2017,U.S.edition 2019).“Post-work”and“post-brexit,”Marriott’s grime poetics registers the racial antagonisms unleashed by the Brexit vote,and harks back to the 2011 U.K.riots triggered by Mark Duggan’s murder at the hands of the police.Marriott understands grime as representing performances of labor,and racialized identity performance itself as a kind of un-remunerated labor,related to Black social death.Both internalizing and refusing the interpellation of the police and state apparatus,and often literally unintelligible to white mainstream society,it is a space of performative subversion,powerful even when mocked,derided or ignored.As“the thread which links afro-pessimism to afro-futurism,”grime could be positioned as a theoretical solution to ongoing debates on Afro-pessimism and Afro-optimism;but it“proceeds without ties or duplicity,”refusing identification or pigeonholing.Neither grime nor Trap,Marriott’s nor White’s poetry,ask for or require empathy.Their“fierce rigor and method”are tools of diagnosis and resistance vital for understanding poetry,race and politics today.展开更多
文摘〉AT：Jerde在城市综合体方面的成功实践一直被业界所认同。以最早在1985年设计的圣地亚哥Horton Plaza为例,该项目成功地复兴了圣地亚哥的活力与经济。几年之后,面临城市人口大量流动、社区死气沉沉的日本福冈,同样也因Jerde成功设计了Canal City Hakata而再次复活,不仅凝聚了当地人,还吸引了世界各地游客的到访,即使现在看来,它仍然非常成功。
文摘This research paper explores the intersection of existential philosophy and psychological disorders in William Shakespeare’s Hamlet,with a focus on Narcissistic Personality Disorder(NPD)as viewed through the existentialist lens of Simone de Beauvoir.Drawing upon Beauvoir’s existentialist framework,the study delves into the complexities of identity,agency,and societal expectations as portrayed in the characters of Gertrude and Ophelia.Through an interdisciplinary approach,the paper examines how existential crises intertwine with narcissistic behaviors,shedding light on the psychological intricacies of Shakespeare’s iconic figures.By synthesizing literary analysis with psychological insights,the study offers valuable contributions to our understanding of human psychology,societal dynamics,and the timeless themes of existential authenticity portrayed in literature.
文摘This essay has two strands.It examines Simone White’s writing on U.S.Trap in Dear Angel of Death(2017),bringing in questions of gender and of the history of writings of“The Music,”in dialogue with thinkers such as Amiri Baraka and Nathaniel Mackey.Historicizing writings on Black music,and their intersections with questions of gender and class,the essay also reflects on the relations between U.S.and U.K.thinking on anti-blackness and music,and sketches some speculative lineages for the different poetic traditions from which such work emerges.Exploring Trap’s address to male desire and vulnerability within the context of anti-black violence and the American carceral State,White hears in Trap something beyond nihilism,even if only as proxy or metaphor—an expression of desire and horror which is the threat of aliveness in the face of social death.The essay also explores U.K.-born,U.S.-based D.S.Marriott’s engagement with grime in his most recent book of poetry,Duppies(2017,U.S.edition 2019).“Post-work”and“post-brexit,”Marriott’s grime poetics registers the racial antagonisms unleashed by the Brexit vote,and harks back to the 2011 U.K.riots triggered by Mark Duggan’s murder at the hands of the police.Marriott understands grime as representing performances of labor,and racialized identity performance itself as a kind of un-remunerated labor,related to Black social death.Both internalizing and refusing the interpellation of the police and state apparatus,and often literally unintelligible to white mainstream society,it is a space of performative subversion,powerful even when mocked,derided or ignored.As“the thread which links afro-pessimism to afro-futurism,”grime could be positioned as a theoretical solution to ongoing debates on Afro-pessimism and Afro-optimism;but it“proceeds without ties or duplicity,”refusing identification or pigeonholing.Neither grime nor Trap,Marriott’s nor White’s poetry,ask for or require empathy.Their“fierce rigor and method”are tools of diagnosis and resistance vital for understanding poetry,race and politics today.
