Preparing Norc, no, Eldo for a life of college debauchery. Though it won't exactly be college; the grad school version of debauchery being far more refined.

halfwise wrote:How does somebody get thrown out of club for doing air guitar?

halfwise wrote:
Glad you celebrated, even gladder we got to hear about it!  Sounds like properly blurry night.  I think you should follow up on the air guitar guy.

Norc wrote:as in he tripped on some pussy and got stuck

halfwise wrote:Ah well.  Put him in storage, may come in useful later.

A 2011 IBM study concluded that creative leaders who "embrace the dynamic tension between creative disruption and operational efficiency can create new models of extraordinary value."

Finding solutions to complex problems requires both analytical and creative thinking styles working together

Creative leadership is about seeking opportunities for shared value creation, even in the toughest of times and the most difficult of circumstances

Complex systems (for example, the human body) are able to adapt in an orderly fashion to unexpected challenges because their many distinctive parts work smoothly together

Since Lukács defines the novel as the outward reflection of a cultural totality whose substance has been lost but whose forms have remained more or less intact, he sees the problem posed by modernity as the reintegration of the internal and external aspects of experience, of substance and form, "soul" and "world." Seen in this light, the irony of Don Quixote's project to imitate the heroes of great books may be taken to represent a historical possibility within the framework of the epic world, one that no longer remains valid for us; henceforward, the attempt to reconcile the ethical and aesthetic aspects of experience risks entrapment in an aesthetic ideology that reverses rather than reconciles the aspects of subjectivity that Lukács calls "form" and "life." By contrast, the discursive ideal established by The Theory of the Novel consists in nothing less than the absolute reunification of the ethical and aesthetic aspects of form. And yet the analysis proposed in The Theory of the Novel will not by its own lights allow this project to succeed. On the one hand, Lukács's supreme valorization of the epic seals the original sources of value inside an absolute and irretrievable past. Lukács understands the origins of the novel within the culture of modernity as the product of a fall from the integrity of subject-object relations reflected in the ancient epic world, so that any properly historical attempt to reunify these terms is bound to fail. On the other hand, the hope for some future restoration of value to the world of man, and for the transcendence of novelistic narration that Lukács glimpsed in the epic-like works of Dostoevsky and Tolstoy, are the expressions of a redemptive dream-in Tolstoy's case, of "a life based on a community of feeling among simple human beings closely bound to nature" (TN 145); in Dostoevsky's case, of a visionary "new world," "remote from any struggle against what actually exists" (TN 152). In Lukács's later Marxist idiom, these writers express the emancipatory hope "that a natural life worthy of man can spring from the disintegration of capitalism and the destruction, seen as identical with that disintegration, of [its] lifeless and life-denying social and economic categories" (TN 20).

Eldorion wrote:one thing that particularly jumps out at me is the idea that we are trapped in a degenerate, valueless culture of some sort because of the "lifeless and life-denying social and economic categories" of capitalism, as if the societies in which ancient and medieval epic literature were written didn't have even stricter and more unequal social classes.

Since Lukács defines the novel as the outward reflection of a cultural totality whose substance has been lost but whose forms have remained more or less intact, he sees the problem posed by modernity as the reintegration of the internal and external aspects of experience, of substance and form, "soul" and "world."

If the epic world is "rounded from within," so that, as Hegel said in his Aesthetics, each individual action and each object in it is the reflection of a totality complete in itself, then the novel reflects the "transcendental homelessness" characteristic of the subject in the modern (read: postepic) world; this is a world in which man is "unsheltered," deprived of the metaphysical comfort of the gods or of access to a natural context of desire, yet hard pressed to derive any ultimate meaning from the world itself.

...the early Lukács conceives the operative principles of novelistic form along the lines of a Cartesian dualism of mind and world and a Kantian antinomy of inner-worldly experience and transcendental value. These philosophies are seen to give expression on a purely conceptual plane to the circumstances of the modern world, in which the nature of the real is seen philosophically as a function of its objective representation and materially in terms of the transformation by the market system of human labor into a series of almost mechanically hardened effects. By reading the problem of rationalization as one of reification, the antinomies of the modern age, which begin with the transformation of selfhood into subjectivity in the philosophy of Descartes and culminate in Kant's vision of human existence as divided between the two worlds-one in which we are determined and another in which we are free-become, as for the later Lukács, the "antinomies of bourgeois thought"; and novelistic narration in turn is seen as an adaptation of the idealist search for value to conditions in which the world has become reified and consciousness rendered contemplative and abstract.

Eldorion wrote:Yeah, it's full of stuff like that. This is literally the third sentence of the article:

If the epic world is "rounded from within," so that, as Hegel said in his Aesthetics, each individual action and each object in it is the reflection of a totality complete in itself, then the novel reflects the "transcendental homelessness" characteristic of the subject in the modern (read: postepic) world; this is a world in which man is "unsheltered," deprived of the metaphysical comfort of the gods or of access to a natural context of desire, yet hard pressed to derive any ultimate meaning from the world itself.

"Transcendental homelessness" is a term coined by Lukács. I'm not feeling brave enough to read the original book right now but according to Wikipedia it entails "the urge to be at home everywhere".

https://www.marxists.org/archive/lukacs/works/theory-novel/ch02.htm

Anyway, it was around this point that I gave up:

...the early Lukács conceives the operative principles of novelistic form along the lines of a Cartesian dualism of mind and world and a Kantian antinomy of inner-worldly experience and transcendental value. These philosophies are seen to give expression on a purely conceptual plane to the circumstances of the modern world, in which the nature of the real is seen philosophically as a function of its objective representation and materially in terms of the transformation by the market system of human labor into a series of almost mechanically hardened effects. By reading the problem of rationalization as one of reification, the antinomies of the modern age, which begin with the transformation of selfhood into subjectivity in the philosophy of Descartes and culminate in Kant's vision of human existence as divided between the two worlds-one in which we are determined and another in which we are free-become, as for the later Lukács, the "antinomies of bourgeois thought"; and novelistic narration in turn is seen as an adaptation of the idealist search for value to conditions in which the world has become reified and consciousness rendered contemplative and abstract.

My conclusion from all this is that Lukács played a significant role in Western Marxists getting totally lost up their own ass and inventing/inspiring the field of cultural studies rather than (as Marx himself advised) thinking of ways to actually change the world. Though that's probably for the best; you don't have much time for liquidating the kulaks when you're busy pondering the Cartesian dualities of transcendental mental experiences.

By the way, I looked up the author of this article (A.J. Cascardi) and he's currently the Dean of Arts & Humanities at UC Berkeley.

Pettytyrant101 wrote:

The Simmona Simmons Best Student Paper on Diversity Award will be presented to a graduate student or a group of graduate students for an outstanding paper which has been written for an iSchool course [in Spring, Summer, or Fall 2017] and which focuses on any aspect(s) of diversity. The iSchool embraces a broad definition of diversity in terms of race, ethnicity, gender, disability, age, socioeconomic status, education, geography, language, literacy, sexual orientation, and national origin, among other factors. Papers must be nominated by faculty and must represent outstanding work that furthers understanding by offering new insights on diversity issues, incorporating original research, and/or analyzing existing information in new ways.