Word: modelied
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...through his offspring; the theological, in which he attempts to create a life after death; the creative, in which he attempts to build monuments to himself through his works; the sense developed by some, like the Shintoists, who see themselves as a part of nature, surviving in the natural mode after the individual death; and, finally, what Freud called the "oceanic feeling," the sense of psychic ecstasy surpassing life and death...
...scholarly standards, are of prime importance to Harvard's new Dean of Students, Archie Epps. As the successor to a man who was under heavy student criticism since 1968, Epps has spent his first month in the Dean's office listening to complaints and trying to forge a practicable mode for his work. The Dean's office has always dealt with a combination of administrative coordination and student problems, but under Epps, a new emphasis on some controversial topics is likely to lend a very personal character...
...Savoir works best in cases like this, where a certain mode of presentation suggests the way to analyze that mode. A more suggestive example occurs when Leaud and Berto decide to interview a Frenchman of the year 2000 by satellite; Godard cuts to a small red-haired boy dressed in red against a blue background. They feed him single words and he responds: "Aristotle"/"Red," "Circle"/"Lion." As in One Plus One's interview with Eve Democracy, we immediately begin weighing his responses for their political significance ("Revolution"/"October," "Stalin"/"Airplane.") Then, however, the problems implicit in this mode...
...played, then speeded up, then slowed to catch a section of his speech so far ahead that its subject has changed. When this tape is running at high speed a whispering voice supplies theoretical dicta for revolutionary action, possibly as a critique of the first. What this mode of presentation implies is unclear. Lacking accompanying images, the two broken-up monologues have no reference and scarcely more meaning. An extended enquiry might reveal the point of this sequence- it may be just that non-referential speech has no meaning. But as it stands, Godard's method of presentation does...
Those sequences which employ metaphor also have limited success, for their meaning comes less from their formal mode than from a semi-representational correspondence to real events. One sequence finds Berto singing scales on "oh." Leaud, standing directly behind her, begins to strangle her and say "ah"; she falters, begins brokenly saying "ah," and with Leaud's approval ends singing scales on "ah." Because the sequence represents something far more awful than the action it presents, it cannot avoid a note of falseness. It is not at all suggestive formally because the meaning to which it refers bears no relation...