In Riding with Rilke: Reflections on Motorcycles and Books, Ted Bishop develops a concept that combines riding and writing to describe the practice of producing paragraphs in the mind while sitting in the saddle of a motorcycle: Back on the Ducati I juggled adjectives as I bounced down the road. Late in the afternoon I would often write while I rode.
Effortless prose that would snarl as soon as I tried to put it on the page. The engine was revving hard in second gear, forgotten while my 44 Haraway similarly treats the Western canon of mostly male philosophers and scientists: Marx, Freud and others e. However, many less well-known female researchers are quoted extensively in her manifesto. I had better stop thinking about riding and ride. Bishop continues thinking the ground that is ridden on not only as a reason or result, but also as a surface and storage for personal words and naturalcultural worlds, saying: A road too is a text.
In a car you read the map, but on a bike you read the road. Ruts, of course, but also the worn lanes of heavily used traffic corridors in cities. Or rather, it is about removing as much as possible between you and the road, about extending yourself past the very vehicle that enables you to feel the road in the first place. So I did what she said. Dandy took not one step more. It was a miracle, and I reacted appropriately, sputtering and then sinking into bemusement. Lastly, the theoretical and methodological framework has four implications for the linguistic style and script of this thesis.
Feature one: Studying posthuman world-making is accompanied by playful word-making and boldly marked knots of knowledge production. CLAS scholarship is a work permanently in progress, so even if the telos is a clearly circumscribed text, results occur on the way and the research is ongoing. Instead, there are metaplasms, meaning any kind of change in a word from adding, cutting to inverting letters, syllables or sounds Haraway, Manifesto 20p. Such moments of re-search on the way are therefore marked as densely concentrated contributions to the field, rather than only formulating a definite conclusion at the end.
The language used to describe humanimal entanglements, syntactic symbols and script style seems important as well, since these signs can help illustrate the human-horse relations and the operations of riding.
Hence, this multiple hybrid can be followed by a verb in singular or plural. There must also be a focus on the linkage and concatentation of rider and horse. Collecting these notions in the form of punctuation is the hyphen: it has connecting and separating qualities, as it creates compounds or cuts off affixes. Hauke and Schimmel are chained together as Hauke-Schimmel, which allows for the unmarked interface to be filled with further agents e.
Hauke-spurs-Schimmel or activities e. The hyphen signals a link, opens up a zone of liminality, makes the two elements possible in the first place and generates the possible further linkage between them. Feature three: Brauner and Schimmel are treated as proper names instead of simple German words, which is why they are not paired up with articles, are not italicized, and are referred to by masculine pronouns. Whereas both humans have proper names and professional titles, the equines are named after the colour of their fur.
With that comes gendering shown through the masculine article der and the pronoun er, deduced from the biological sex of the actual horse, most likely a gelding. McClatchy ed. Princeton: Princeton University Press, The Harvard Classics Shelf of Fiction. New York: P. The Rider on the White Horse.
These translations are problematic in a CLAS context for several reasons: First, Schimmel is not a white but a grey horse; second, it puts the rider instead of Schimmel in the foreground; and third, it lacks the layer of interlinkage which the German compound gives the figure. According to equine breeding specifics, however, only horses with white fur and skin are white, and only grey horses with dark skin and eyes—like Schimmel—are Schimmel. Brauner and Schimmel are Bezeichnungen describing a type of horse, rather than being names for individuals. Symbolic designation and fleshy bodies, as well as plurality and singularity coincide in these Texttiere and create figures consisting of heroes and horses.
As the analyses see 3. These peculiarities of English and German regarding the naming and gendering of animals lead Jackson transl. The Dykemaster. London: Angel Books, This dichotomy of colours as a way to reveal the nature of the Hero—and never the nature of horses—was reinforced in the emerging black-and-white movies of the Jahrhundertwende where they were easier to identify on a monochrome background see Walker pp.
Analyzing German literature in English entails certain issues for my writing practice, as does the genre of dissertation. According to MLA guidelines, proper names—no matter which language—are set upright and capitalized, whereas foreign-language nouns are italicized. Brauner or der Braune and der Schimmel are words. But taking their figuration as a companion, their technical agency in the practice of riding, as well as their protagonist status in the stories into account, they are namebearers and the words should be set upright.
Brauner and Schimmel are names. CT concepts emphasize nonhuman agency in general, CS concepts stress animal agency in particular, and 50 See p. The Modern Language Association of America. New York: MLA, Applied scientific research on horse-riding and contemporary manuals serve to untangle the equestrian encounters in the stories by Hofmannsthal and Storm, which so far have mostly been studied from an anthropocentric perspective. This dissertation contributes to the study of riding and to cultural-literary researching methods in the form of wriding.
The research questions resulting from all aforementioned reflections are the following: What factors does the experience riding involve? What happens between the horses and the riders? How are the in-betweens that occur in riding structured? What are liminal characteristics of riding? How does riding entangle CS? How do CT link in riding? What is the relationship between horse-riding and larger contexts beyond the humanimal encounter?
What is the relationship of equitation in these novellas and equitation in the era of their production? How can I write about riding? The following chapters gradually untangle certain problematic nodes of riding and produce new knots of knowledge; the writing is interlinked and loops around them. Chapter 2 introduces the methodology of my investigation in detail: the Companion Species 2. The main chapters are close readings of the two case studies Reitergeschichte 3. Rather than a fixed conclusion, chapter 5. It sums up my analyses for both texts 5. This leads to my interpretation of horse-riding in RG and SR as symptomatic for the unsettling developments in humanimal relationships, and the intellectual and material urge for both grounding and elevation during the Jahrhundertwende era; I argue that current theory covers these intricacies comprehensively 5.
I then repostion my work and present possible further research on horsewomanship or in the field of Environmental Humanities 5. The outro reflects on initial thoughts about riding, writing and wriding 5. Methodology 2. Therefore, these two notions can discern the negotiations of liminality within the worlds of the stories and where they tie knots with realities, specifically the ones regarding horse-riding. It always appears in the grammatical plural and is conceived of as pluralistic as well. Figures can be monstrous or mundane, there are many of them, they contain a multitude of faces, and coalesce multiple layers of significance, which figure in both cultural and literary products as well as the material world.
Whenever flesh and blood creatures intermingle with signs and symbols, a figure is formed, or rather, is constantly forming, since figuration is an ongoing dance of beings-in-encounter see Meet 4p. Literally all kinds of animate or inanimate, organic or technological kinds entangle and then mutually constitute each other through interaction. They are at the same time creatures of imagination and possibility, as well as of fierce, ordinary real-life.
Interspecies activities are always at least about this doubleness, but do often add even more layers of material or sense to their practice, such as horse, human, tack, text and terrain do when they mix and make worlds by riding. In this world, biographies of individual figures and blending textures of figure communities can flourish.
In her chart of transformation—e. The human body hosts millions of microscopic creatures, lives and miniature worlds, just as it is inhabiting its own micro- and macrocosms that overlap with nature, culture, hi stories, other human or nonhuman animals, and artefacts within certain times and spaces. Therefore, figures and figurations are constantly folding and unfolding on various levels and in various worlds, from Texttier to terra, from symbols to symbioses, from the animal other to the observing analyst.
Figures, figurations and figuring are not only methodological tools to analyse horse, rider and horseriders in RG and SR, but also constitute the practical reading and writing process when interpreting facts and fiction. Its meaning meanders along species assemblages with unruly edges,52 the reciprocal transformation of embryonic cells,53 the perspective of co-presence and practice in the interlocking between speakers of different native languages,54 or articulations among cultures, nations and regions based on a paradigm without sociocultural wholes but with developing relational systems instead.
Contact zones, power and play are first of all very applicable to analyze the in-betweens of equitation in RG and SR, and also point out current concepts and Jahrhundertwende ideas of humanimal communication. By challenging the difference between fact and fiction,57 she exposes how akin CS material and CS stories actually are as they make each other up via encounters in flesh and sign. Thus, the CS approach invites an incorporation of scientific scholarship in this literary investigation. I will therefore consult research in the fairly new field of ES that negotiates traditional and innovative horse-training, riding techniques and equine welfare, to conduct a practical-ethical analysis of the equitation presented in the two novellas.
A fact is a past participle, a thing done, over, fixed, shown, performed, accomplished. Like facts, fiction refers to action, but fiction is about the act of fashioning, forming, inventing, as well as feigning or feinting. ES is non-commercial and more accurate, for it does not rely on non-measurable concepts such as harmony or respect, but on established notions of learning theory, equine ethology, and quantifiable variables such as the pressures of reins, seat and legs.
It abstains from goal-driven horsemanship traditions and aims to be more process-oriented instead. Summing up, I employ the CS approach, particularly the two ideas of figures and contact zones and their application to horse-riding through ES, to analyze the chosen Jahrhundertwende novellas with an innovative and scientifically informed view beyond the scope of previous humanist research on RG and SR. RG and SR feature an array of actions such as fighting, prancing or riding, which all concatenate human and horse bodies with other nonhuman material through technical interactions that have cultural implications.
Thus, these 69 two concepts can distinguish the entangled liminalities in text and context, especially the ones concerning equitation. Macho provides the much-cited explanation for this critical change of perspective: Cultural techniques—such as writing, reading, painting, counting, making music—are always older than the concepts that are generated from them. People wrote long before they conceptualized writing or alphabets; millennia passed before pictures and statues gave rise to the concept of the image; and until today, people sing or make music without knowing anything about tones or musical notation systems.
Counting, too, is older than the notion of numbers. To be sure, most cultures counted or performed certain mathematical operations; but they did not necessarily derive from this a concept of number. It is a CT involving human and equine bodies, tools, tack and movement within an environment. Similar to the differences in complexity of counting or calculating with fingers, abacus or computer ibid.
In the context of equitation they are basal CT such as gates, saddles, reins, or the bodily act of straddling. Hence, it is not the horse, the human or horsemanship, but rather the connection of rider, mount, and artefacts as agents in riding which I will analyze in the novellas. Understanding CT as action-based, connected and alternating recedes from an apprehension of the entangled media elements as extensions of the body, and develops an ethnological-inspired appreciation instead.
Consequently, riding cannot be restricted to bodies, since there are associated things such as gear to wear and the ground to walk on; it also cannot be ascribed to a 71 human body technique that is extended to a horse body, since walking upright on two feet is not like trotting, cantering or galloping with four hooves; riding is a different way to move—for both species participating.
The internal connection and intimate relationship of such highly intricate CT as writing or riding causes the levels of production and presentation to coincide and become coextensive. Considering horse-riding, the act of producing certain movements and the act of performing them constantly merge in the concrete flesh and blood horse-human-dyad acting in a certain time and place. Chains of operations are to be considered before all the chained items individually, based on the idea that any media only act as media when applied in an action that gives them function.
Key is not only to accept the priority of chains of operations, but also to see how these same operations apply to their own results in various ways. This leads to deliberations about instrumentality, and the idea of one operation being the purpose for the next, and this operation being a means to yet another end etc. Recursive chains serve to investigate the intricate concatenation of the humans, horses and equestrian objects as they appear in RG and SR, particularly regarding the ramifications when their movements and motions in riding overlap with other purposes.
Adding the body to the recursive chains linking people, things and signs is one of the newest and most consequential expansions of the CT concept. It is important to keep the term in the plural when talking about the variety of activities, since it is impossible to go from specific to conceptual. The study of body techniques is not clearly covered by one established discipline. Horse-riding, as an interspecies practice, is typically traversing along the edges of zoology and ethology, sport studies, art, military history or social studies, depending on whether its animalistic, athletic, aesthetic or other aspects are analyzed.
Tellingly, it is a multifaceted and somehow marginal activity within the sciences and humanities, which is why understanding it requires such a comprehensive concept as body techniques. He refers to the Platonic idea of techne and extends it for his purposes ibid. Some scholars argue, that CT do require artefacts or symbols, and that walking, swimming or gestures are therefore not CT but only body techniques. Rather, bodies merge with media and technologies in action—e. The result are fashion trends transmitted by handbooks and expert instructions.
It is just their medializations and modes which change temporarily and locally. Mauss classifies body techniques according to biographical rhythms and rituals of the everyday human life, from resting activities such as sitting or sleeping to movements such as walking, dancing or climbing see pp. Equitation—or any other interspecies activity—is not included. Body techniques are an applicable concept to analyse the mutable physical, historical and traditional aspects of horse-riding as presented in RG and SR, especially with a focus on the social setting of the moving human and animal bodies according to mediated instructions.
Most body techniques, however, do not accumulate. Such aspects offer an opportunity to make manuals a signified part of the literary analysis. There are handbook covering horsemanship from breeding to husbandry but I use the ones with a strong emphasis on equitation, to undertake a material analysis of specific horse-riding passages in the selected novellas.
Comprehensive surveys of mostly Western European and North American62 horsemanship such as Geschichte des Reitens: Von der Antike bis zur Neuzeit by Michaela Otte and Die Reitkunst im Spiegel ihrer Meister by Bertold Schirg provide basic overviews of the topic, its terminology and history, especially for the German context of the Jahrhundertwende. During this era equitation experiences a shift from the military as the main source of riding education in the 19th century to a more athletic and leisure-oriented instruction for civilians in the 20th century.
They are particularly valuable for investigations of the practical, physical operations featured in the novellas. To sum up, I use CT theories, especially the ideas of recursive chains, body techniques and their utilization in contemporary equestrian handbooks, to investigate the selected texts of the era from a novel, posthuman and posthermeneutic perspective in addition to the earlier scholarship about RG and SR.
A combination of the two is particularly needed to cope with the complexities of horse-riding in the chosen texts. Neither theory alone fully covers the elaborate entanglements of the human-horse relationship and riding. Neither of the two theories is an established form of literary criticism either. CS concepts—within the bigger framework of critical Anglo-American posthumanism—and CT concepts—within the framework of German Media Studies—have so far neither been connected by other scholars nor have they reached out to the respective other themselves.
As a result, the two theories complement each other and constitute a kindred but by no means identical approach to horse-riding in literature. They share similarities regarding human-animal relations, critical methodological moments, but also show differences when it comes to their origins and their objects of research. A basic resemblance between CS and CT is that their research is relatively unbound from traditional institutions and determined by its content and methods. There appears to be an overall agreement on nonhuman agency, be it animal, artefact or material. They also have a profoundly different parentage.
Reading Conrad, Weiss, Sebald
This way, the two theoretical clusters—CT being rather detached from flesh and blood beasts and CS being deeply involved with muddy critters—seem to level each other out considering the epistemological and ethical aspects of CLAS. Entangled, they make for an overall even methodological pairing in my analysis of horse-riding.
Aside from the aforementioned theoretical overlaps, there are other intersecting themes and structures in CS and CT works. The following new notions are filtered from the two fields of research and will be defined in detail further down 2. For both approaches, matter is fact and being down-to-earth is taken literal.
Each concept illustrates certain aspects of humans riding horses and indicates how the practice appears in the stories. Entangled, these concepts enable an intricate cultural-literary analysis of equitation in RG 3. This third is a new product which is unlike its producers, and yet it makes their distinction possible in the first place. It is simultaneously the parent of the involved pair and an 84 overriding third deriving from their connection. Haraway describes the concurrence of humans with other species as follows: There cannot be just one companion species; there have to be at least two to make one.
It is in the syntax; it is in the flesh. Manifesto 12 Humans meeting nonhumans never fuse completely,68 and the meeting never ends but perpetually continues. A mundane activity that precedes the detailed form in which its agents come together also allows for counter-intuitive and incongruent moments.
CT theories describe similar structures when dealing with operations that connect humans and nonhumans and produce unique cultural techniques in the course of their ongoing encounters. Since doors and gates conceptually belong to neither side, they permit and even promote mutuality instead of hierarchy. Finally, both approaches resemble each other in how they illustrate their ways of thinking by using linguistic logic and grammatical rationale: verbs vs.
Haraway explains the linkage between CS as follows: Reality is an active verb, and the nouns all seem to be gerunds with more appendages than an octopus. Beings do not preexist their relatings. The world is a knot in motion. Meet 6 Just as she notices how "histories of body and mind [ Cornelia Vismann defines CT as practices that describe what media do, produce, and which actions they prompt. Hence, operations can be executed by nonhuman subjects. Thinking of CS and CT as bearing an emerging third stresses their relational and productive qualities, whether they occur during human-animal encounters, material entanglements or grammatical structures.
Both approaches track and unravel these generative, semiotic knots that manufacture culture, mold nature, mix natureculture and materialize in humanimal relationships. Individuals involved in companionship become worldlier themselves just as they create more livable worlds, e. Kulturtechniktheorie also mentions the world-making forces of CT. CT as in-between thirds not only establish worlds, but enculturate realities and institutionalize symbolic systems within the contingent framework of nature and culture.
Everyday-life practices such as reading, writing, eating, walking, driving, riding and so on produce new worlds within the world. Taking the world-making potential of CS and CT into account emphasizes the perceptional aspects of the humans, animals and artefacts involved with each other within their surroundings. The Harawayan notion of a coalesced natureculture is enriched with a focus on ongoing operations found in Kulturtechniktheorien.
An interdisciplinary outreach enables them to supersede the traditional demarcation of Nature and Culture as closed entities, which is put into intellectual practice by the faculties of Sciences and Humanities. The new approaches dispute such outdated ideas, and question the enclosure of naturally rooted nonhuman animals and culturally 90 productive humans into their alleged realms. Instead, they develop differentiated conceptualizations of naturalcultural worlds formerly known as Nature and Culture.
The established dichotomy fuses and frazzles, and the exclusive binary pair is broken up to include phenomena inhabiting its borders. For the biological sciences it is the study of animals that can reveal these oppressive traditional theories, and Haraway first focuses on primates. In her second programmatic text The Companion Species Manifesto: Dogs, People and Significant Otherness, she deals with the canine-human entanglements in shared hi stories, life, work and training, and comes up with CS as a new category of its own; it is a flesh-blood-and-fur continuation of the smooth cybernetic organisms of the s.
In a next step, thoughts about co-evolution, co-habitation, co-constitution and cross-species embodiment engage with symbiogeneses in a larger frame, namely in the fusion of nature and culture to natureculture—now a compound linking two worlds in one word. Naturecultures emerge when the two supposed realms merge, which happens in the plural, happens in pluralism and has in fact always happened. Scientific thinking must follow these heterogeneous, mundane encounters as best as it can. Whereas the CS approach aims at conceptually assembling the always-already-merged phenomena of nature and culture in naturecultures, the CT approach appears to disassemble the very prerequisites that make their differentiation possible in the first place.
As the term implies, CT theory is mostly concerned with the concept of culture, its relation to nature, its difference-engendering powers, and its emergence from CT. According to Siegert the final and most important step is: Yet we always have to bear in mind that the distinction between nature and culture itself is based on a contingent, culturally processed distinction.
Cultural Techniques precede the distinction of nature and culture.
- Once Upon a Christmas - a collection of 40 original holiday stories!
- Mathematics, Computer Science and Logic - A Never Ending Story: The Bruno Buchberger Festschrift.
- Oui, la nature humaine est bonne ! (Hors collection) (French Edition)?
They initiate acculturation, yet their transgressive use may just as well lead to deculturalization; inevitably they partake in determining whether something belongs to the cultural domain or not. The way CS and CT theories permit naturecultures to propel their ongoing distinctions, highlights moments of contexture, productive discrimination and recursive 93 branching between humans, animals, their worlds and their complex relatings.
Hence, this concept is particularly prolific to interpret the dike project in SR, in which human hands and earthy material entangle via Deicharbeit, and the Schimmelreiter figure, in which species borders are overridden via equitation. It continues with the implied creation of interspecies worlds such as the Reiterperspektive.
- The Right Ladder.
- Rondo in E Major (Wq58/3).
- Palabras Que Mueven Montanas (Spanish Edition)?
- You Can Get Bitter or Better!?
- Unkiditional Love.
- wagic/abepivurev.tk at master · WagicProject/wagic · GitHub.
Next, it enlarges the perspective to the networks of perpetual, reciprocal processes of domination and determination in naturecultures, as seen in Reiter figures and landscapes. A fourth and last substantial similarity of CS and CT that seems to traverse all the aforementioned structures and manifest them in concrete materiality, is an orientation towards the earthiness in relationship chains as they appear in riding. While both theories refer to earth, soil, the environment, ecological systems and the planet, they do so on different levels of literality.
One has to have a more thorough look at CT research to locate the underlying earthiness in the concepts. Even though both notions are originally concerned with humans practically working with earth, land and soil, they later develop opposing intellectual associations for culture and technology respectively.
Linking the terms culture and technique conceptually continues old debates of early 20th century philosophy, but attuning to the agricultural connotations of CT allows a new and more productive perspective see Geoghegan According to Geoghegan, conducting agricultural tools entails a holistic matrix of techniques and practices that establish a logic within the soil and an order among the humans and machines tilling the soil. The results are cultural distinctions, both as an infinity of distinctions in the land and distinction among lands. Regarding the significance of earthy aspects in both the CS and the CT approach affirms their concern for human-animal relationships and their multi-material, mundane practices involving a larger ecological framework of soil, ground and land.
Haraway introduces figures in the plural and as pluralistic. Beginning with the title of the novella, Reitergeschichte plays with this notion, since Reiter is both a grammatical masculine singular der Reiter and plural die Reiter. The lack of a definite or indefinite article leaves the title also conceptually underdetermined: it is neither Eine Reitergeschichte one of many specimens nor Die Reitergeschichte one of a kind , and there is no subtitle to reveal more. Structurally, this uncertain heading does not lead into the story linearly, but rather seems like a loose thread sticking out of the knots of a theme Reiter- and a genre -geschichte.
These types of figuration seem to move onward chronologically, but in fact they twist inward and spiral beyond the level of lineary order. Thus, they shape layers of entanglement and structure a texture of signs e. Considering the realness of the identical looking rider Lerch sees, but the soldiers Holl and Scarmolin do not see, the scholar suggests to trust the horse as an animal with an unerring instinct, who is startled by the phenomenon. He concludes that Hofmannsthal creates a new genre this way, the unheimliche Geschichte uncanny story , which combines elements that are both undeniable and undefinable.
The focus blurs and shifts from the encountered parties to the encountering itself, because neither the characters nor their counterparts are relevant as entities. Instead, the narration foregrounds the riding towards each other and the subsequent entangling of real and unreal. Harawayan figures deal with the dirty, ugly and deathly, and thus often seem monstrous.
The worldly overcoming of borders between two or more species and layers of reality and irreality, and the micro- and macrocosms that overlap on the bridge outside the village are central. A corporeal Reiter meets a symbolic shadow, which constitutes an encounter within the text but also between text and world. As a story, this simultaneously queries ideas of fact and fiction: Are Lerch and Brauner in the flesh reality or signs in a text?
Only few scholars go beyond this interpretation on the level of irreality and identify the double as at least partly real. Interestingly, the accompanying horse often plays a role in rendering the apparition into an audible, visible, almost tangible appearance but is still not entrusted with agency see Tarot p. Neither the real Austrian cavalry riders nor the imagined characters in the novella obtain meaning before they are entangled in RG.
They are not isolated beings simply connected when they ride, but integrated species who concatenate on all levels of riding, from physical touch over perception to operation. The man and the horse cohabit as a dyad of two different kinds, and their shared practice of riding as a conjoint movement and use of tools and terrain coexists with the world. There are three moments in RG in which this symbiotic riding and perpetual experiencing the world as a pair that is chained together in practice stands out. RG: 42 In all three examples horse and human figure together.
Their riding, or even a disturbance in their riding, connects them with each other and with other artefacts horse shoe, reins, the ground , animals human women, the conspecific cavalry horses and actions observing Vuic, the older woman and the squadron, hearing doors shut, walking, trotting.
Interspecies practices are never just doubles, they often involve more than two species as well as nonanimals. In these particular paragraphs, the CS Lerch and Brauner also co-constitute each other: Lerch becomes a curious, insubordinate, desire-ridden soldier on the back of his mount who enables him to see the woman higher up in the window, quickly separate himself from the group, enter her room, and return after reclaiming his old love.
Brauner becomes a sensitive cavalry horse with bonds to conspecifics, who is cared for and checked upon by his rider when covering uncertain grounds and leads the way back to the group. Mutual figuration happens within the interspecies team which together figures out the world. They are made of flesh and blood reality just as they are made-up by the potentialities of fiction and grammatical form.
Especially the soldier and his horse, who co-constitute each other via material and terrestrial components, ultimately hover over the landscape and create a liminal zone between hovering and treading hooves; they also move flexibly between the realm of linear human history and spiraling Texttier. Endless worldly encountering and entangling precedes whatever Wesen is—or better: are—involved in the process, just as riding and the written story twist and tie Lerch and Brauner together as a CS figure.
This concentration on certain moments in the entanglements of species and other entities adds more details to the figurations described above. There are two examples for contact zones in RG: the location and fictional setting of the analysed figures, and the human, material and animal enmeshments during riding and fighting. The first characteristic of contact zones is that they do not include abstract ideas, such as the Human and the Horse and how they essentially connect, but rather deal with particular partners in a specific context, such as Anton Lerch and his horse Brauner set in the Second Italian War of Independence in a story written by Hofmannsthal around in Austria.
We talk about existential questions. Not yet immediate questions of life or death, but proven creeping and actual dangers for our health and properties with de facto depropriations. And a stain in our beautiful landscape.
The panoramic picture shows the giant wound in the landscape less than m from our village. The second picture shows one of the usual blastings, with the dust cloud on the way to cover the village again. Especially children have to inhale this dust containing quartz. Our actions until today:. Obviously, the responible Politicians have not realized that we talk about a Pearl of Nature and one of the most attractive areas within the Communidad Valencia, which is deteriorated by private greed. We are no members there but we join their aims. The quarry, licenced by the Mayor of Pego under strange circumstances, causes heavy burdens and will go on disturbing the natural peace of minds if nothing is done against this incredible scandal.
As you might think, most of the Burdens begin harmlessly. We all should have a right of breathing fresh air, where is it? What about the famous mediterranean climate under those circumstances? The quartz particles of the dusts cause massive health risks especially for children, does anyone care about that? Do we really like to sometimes wipe away the dusts from our homes twice a day? Especially the daily life of citizens living near the quarry is merely determined by others. They awake at 7 with the noise of the machines and the lorries, continuing sometimes to 11 p. At Siesta time blastings with loud detonations and shaking of their beds, sometimes accompanied by the sound of cracks in walls and ceilings.
Who will pay for this cold expropriation and the psychic damages of the inhabitants? And believe it or not: Attached you find a copy of what the town hall of Pego thinks to be a valid licence for a quarry underlying European Environmental law!
User:Patrick0Moran/DictionaryProject - Simple English Wikipedia, the free encyclopedia
No environmental assessment, no public hearing, nothing. Additionally the wrong statement of no expansion in capacity. Probably signed between two tapas, forgetting even the year of signing.
Beat Girl. The City of the Dead. The Two Faces of Dr. The Hands of Orlac. The Terror of the Tongs. Taste of Fear. Alcoa Presents: One Step Beyond. Das geheimnis der gelben Narzissen.
Ercole al centro della terra. The Pirates of Blood River. The Devil's Agent. Sherlock Holmes und das Halsband des Todes. La vergine di Norimberga. La frusta e il corpo. Il castello dei morti vivi. The Alfred Hitchcock Hour. La cripta e l'incubo. The Devil-Ship Pirates. The Gorgon. Terror's House of Horrors.
The Skull. Ten Little Indians. The Face of Fu Manchu. Theatre of Death. Dracula: Prince of Darkness. Rasputin: The Mad Monk. Circus of Fear. The Brides of Fu Manchu. The Vengeance of Fu Manchu. Night of the Big Heat. Five Golden Dragons. Die schlangengrube und das Pendel. Curse of the Crimson Altar. The Devil Rides Out. The Face of Eve. The Blood of Fu Manchu. Dracula Has Risen from the Grave. The Avengers. Light Entertainment Killers. The Castle of Fu Manchu. The Oblong Box.
The Magic Christian. Scream and Scream Again. The Bloody Judge. Taste the Blood of Dracula. One More Time. Julius Caesar. The Private Life of Sherlock Holmes. Scars of Dracula. The House That Dripped Blood. I, Monster. Hannie Caulder. Death Line. Nothing But the Night. Dracula AD Dark Places. The Creeping Flesh. Poor Devil. Great Mysteries. The Satanic Rites of Dracula. Horror Express. The Three Musketeers. The Wicker Man. The Four Musketeers. The Man with the Golden Gun.
Diagnosis: Murder. Le boucher, la star et l'orpheline. The Keeper. Killer Force. Space: