a more historical approach that focuses on clarifying the relationship between Sartre’s conception of nothingness and Derrida’s notion of différance to show that their relationship is one of disharmonious continuity—a conclusion that accords with
Critiquing Presence with Sartre and Derrida
on audiences by studying the cognitive origins of editing decisions that have visual, emotional, or narrative purposes that are subtler than preservation of continuity? The cognitive framework in studies of the moving image, as described by David
Time and Transmission in the Anthropology of Christianity
Acknowledging the growing interest in issues of religious transmission, this article reviews two promising yet contradictory approaches to religion that could be described as historicist and universalist. It offers an alternative view premised on their convergence in a pragmatic approach that can link the material, contextual, and institutional dimensions of transmission with corresponding cognitive, perceptive, and emotional processes. This perspective recognizes the historicity of religious transmission and its cognitive underpinnings while attending to the materiality of its semiotic forms. The article focuses on the relationship between time and transmission in recent ethnographies of Christianity that show how Christian temporalities influence perceptions of social continuity or rupture and individuals' becoming in history. Within this frame, it examines the case of Old Believers, an apocalyptic movement that emerged out of a schism in seventeenth-century Russian Orthodoxy, to indicate how a pragmatic approach works in practice.
Paul Messaris, Cynthia Freeland, Sheena Rogers, Malcolm Turvey, Greg M. Smith, Daniel T. Levin, Alicia M. Hymel, and Tim J. Smith
CONTINUITY AND ITS DISCONTENTS
CONTINUITY, NARRATIVE, AND CROSS-MODAL CUING OF ATTENTION
AUTEUR OF ATTENTION: THE FILMMAKER AS COGNITIVE SCIENTIST
THE CONTINUITY OF NARRATIVE COMPREHENSION
CONTINUITY IS NOT CONTINUOUS
Greg M. Smith
MAKING THE CASE FOR NONPREDICTIVE CONTINUITY PERCEPTION
Daniel T. Levin and Alicia M. Hymel
EXTENDING ATOCC: A REPLY
Tim J. Smith
Two Women and Two Men in a Changing Time
their life. Changes and Continuity in Family Life The fragmentary descriptions I have presented above elicit several considerations about current family life in Tunisia that are also incomplete and scrappy. Lila, Habib, Hayet and Mourad belong to the
Flow and Participation in Punu Twin Dancing
While focusing on its dynamics, Bruce Kapferer considers ritual as a means for readjusting the flow of life, thus undermining Claude Lévi-Strauss's vision of ritual as a vain search for continuity. This article shows the potential of Kapferer's approach for understanding the dance rituals that the Punu of Congo-Brazzaville dedicate to twins, who, as waterspirits, embody the source of life. Advancing Victor Turner's attempt to account for the generative power of ritual, it discloses the means through which these rituals afford a lived experience of revitalizing continuity whereby the part embraces the whole and a focused, self-intensifying energetic dynamic unfolds and continuously readjusts its own flow. The analysis of rhythm and its actualization in song and dance turns out to be essential in this regard.
Tim J. Smith
The intention of most film editing is to create the impression of continuity by editing together discontinuous viewpoints. The continuity editing rules are well established yet there exists an incomplete understanding of their cognitive foundations. This article presents the Attentional Theory of Cinematic Continuity (AToCC), which identifies the critical role visual attention plays in the perception of continuity across cuts and demonstrates how perceptual expectations can be matched across cuts without the need for a coherent representation of the depicted space. The theory explains several key elements of the continuity editing style including match-action, matchedexit/entrances, shot/reverse-shot, the 180° rule, and point-of-view editing. AToCC formalizes insights about viewer cognition that have been latent in the filmmaking community for nearly a century and demonstrates how much vision science in general can learn from film.
Nationalism, Feminism, and the Ukrainian Women's Movement
Martha Kichorowska Kebalo
Aspects of the women's movement evolving in post-Soviet Ukraine may be viewed as an extension of a transnational Ukrainian women's movement that had its origins in the nineteenth-century Russian and Austro-Hungarian empires. This essay traces the continuities of personnel and mission that serve to link disparate historical phases of such a movement over temporal and geographic discontinuities, even over homeland and diaspora communities. A central question is how the political history of Ukraine, and in particular, its lack of a unified state for most of the twentieth century, has affected the history of the country's women's movement. Historically, the feminism of Ukrainian women, often clearly evident in their pronouncements and strategies, has been obscured by the political context of their movement, which has encouraged its framing as nationalist, even by the women themselves. It is suggested that a growing body of historical scholarship is promoting a broader understanding of Ukrainian women's activism. Such projects can serve to bridge ruptures in the 'national ethos' that stem from Ukraine's complex history, reclaim the feminism of the movement, and focus the range of women's activism in Ukraine on a consensual, specifically women's, agenda.
Reinhart Koselleck's Construction of the Sattelzeit
The author contends that a transition period is conceived in terms of its continuity with preceding or subsequent periods, rather than an entirely discontinuous temporal unit. Thus, in order to conceive of a period of transition, one must assume an overarching historical continuity. This contrasts with Reinhart Koselleck's and Michel Foucault's conception of the period of transition to modernity which is at once a break and part of the modern period. By analyzing how time is experienced in terms of contemporary awareness and retrospective consciousness, the author maps out the epistemological determinations that allow for the conception of a period of transition to modernity such as Sattelzeit.
David Bordwell (2002) has described contemporary mainstream cinema as a cinema of intensified continuity. When we combine Bordwell's analysis with that of recent cognitive work on attention, especially with work on edit blindness, we discover some intriguing results. For example, the increased rate of cutting in contemporary cinema serves to keep our attention continually aroused, but, at the same time, that which arouses our attention—the increased number of cuts—becomes decreasingly visible. That is, the greater the number of cuts made in the services of continuity editing, the less we are able to spot them. If, while watching contemporary mainstream cinema, the attention of viewers is aroused but viewers are decreasingly capable of spotting the reasons why this is so (i.e., the cuts themselves), then does this also serve to make contemporary mainstream cinema “post-ideological,” because it concerns itself only with “intensified” experiences? Or, as this article argues, does the sheer speed of contemporary mainstream cinema renew the need for the ideological critique of films?