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The dog, as many ethologists claim, is the most intelligent animal. This derives simply from her special capability of comprehending any referential messages sent to her by man. It is also true that the dog is the only domesticated animal which can be used for satisfying very diverse human needs. The dog found in people’a homes has for a long time served as merely an entertainment, but some other specific roles have also been attached to it, when being kept as watchdog, hunting dog, or guide dog. In the aftermath of WWI the guide dog came to be used for helping the blind veterans. The dog was then to become a living prosthesis fulfilling more than an economic function, offering companionship and emotional support for many disabled men, blinded in the Great War. The experiment with the guide dog (in Germany) was finally to catalyze the successful employment of the guide dogs on a global scale and for a great variety of other purposes.
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The study poses a question about the future of canons in a context which is fundamentally opposed to the conditions of formation and operation of canons. When we talk about the canons, in fact, the issue is the way of transferring, the nature and the organization of the culture. The concussion and collapse is related to the changes in the culture’s deep structure. The growing volume of cultural production, the diffusion of knowledge and the virtualization refers to a process where culture falls apart in values which are not communicating with each other, which can be indicated with the concept of cultural tribalization. This situation may void the issue of canons as well.
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Sonoko m’a envoyé un cadeau en décembre. Des soucoupes faits main, décorés de ravissants petits collages fabriqués à l’aide de très fines feuilles de papier mâché. Une après l’autre je les ai disposées sur le seul petit espace libre de notre table de cuisine éternellement surchargée.
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Il était une fois une galerie libre, une galerie de tous les possibles, qui aimait fêter l’art et l’écriture. Elle fut fondée à Lyon en 1974 par Jean de Breyne, poète et chroniqueur, qui la baptisa Galerie-librairie l’Ollave, du nom qui désignait dans la société celte celui qui auprès du barde chantait et commentait les évènements, et qui en était également parfois guide, parfois guérisseur. Une véritable librairie d’ouvrages rares et des revues engagées et d’avant-garde pendant ses premières années (de 1974 à 1979), la galerie a toujours régulièrement organisé les lectures et pratiqué les rencontres entre écriture et peinture. Ouverte à toutes les expérimentations artistiques urgentes, elle a été également le lieu de la performance, des rencontres internationales, des évènements poétiques, des installations subversives, comme de la peinture.
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Teri Iglton: MARKSISTA RABIN: VALTER BENJAMIN Dejvid Sid: RED U „ENTROPIJI“ TOMASA PINČONA
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Poštovani kolega Tomislave, kolegice i kolege, dame i gospodo… Dok se nalazim u ovoj dvorani i zajedno s vama sudjelujem u obilježavanju Dana crnogorske advokature, dok sjedim za stolom s poštovanim kolegom Tomislavom Dedićem, autorom knjige „Advokatske godine“, i promotorima – Ilijom Radulovićem i Slobodanom Beljanskim, osjećam se sretno i ponosno.
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Riječ-dvije o psovkama u kartici moje pripovijesti/romana SIN OTAC SIN, poštovanoga kolege Mata (on bi, moguće, rekao Mate) Nedića: Motrišta 91, str. 97.
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Writing is act making you lonely. Head spinning loneliness is a scary thought comes to Mallarme in front of a blank page and a lamp. Mallarme had overcome this only by moving the lamp away: "you cannot write bright on a dark space". Kafka, who is simply literature, tells Fellice about his unqiue design: taking all you need to write and settling down in a quite dungeon with a lamp. He says that "you cannot be adequately alone when writing; night is not night enough".
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