When we participate in political debate or protests, we are judged by how we look, which clothes we wear, by our skin colour, gender and body language. This results in exclusions and limits our freedom of expression. The Politics of Becoming explores radical democratic acts of disidentification to counter this problem. Anonymity in masked protest, graffiti, and online de-bate interrupts our everyday identities. This allows us to live our multiple selves. In the digital age, anonymity becomes an inherent part of (...) everyday communication. Through our smart devices we express our selves differently. As cyborgs, our identities are disrupted and reassembled. We curate self-representations on social media, create avatars, share selfies and choose the skin colour of our emojis. The Politics of Becoming encourages us to engage in a revolution of the self. Democratic pluralism is not only a matter of institutional design but also about how we express our identities. Inner revolutions change our personal realities and plant a seed for democratic futures. (shrink)

Although anonymity is a central feature of liberal democracies—not only in the secret ballot, but also in campaign funding, publishing political texts, masked protests, and graffiti—it has so far not been conceptually grounded in democratic theory. Rather, it is treated as a self-explanatory concept related to privacy. To overcome this omission, this article develops a complex understanding of anonymity in the context of democratic theory. Drawing upon the diverse literature on anonymity in political participation, it explains anonymity as a highly (...) context-dependent identity performance expressing private sentiments in the public sphere. The contradictory character of its core elements—identity negation and identity creation—results in three sets of contradictory freedoms. Anonymity affords (a) inclusion and exclusion, (b) subversion and submission, and (c) honesty and deception. This contradictory character of anonymity's affordances illustrates the ambiguous role of anonymity in democracy. (shrink)

The Joker both fascinates and repels us. From his origin in Detective Comics in 1940, he has committed obscene crimes, some of the worst the Batman universe has ever known, and, conversely, fans have made him the topic of erotic and pornographic “fan fiction.” Speculation about the Joker abounds, where some fans have even claimed that the Joker is “queer coded.” This work explores various popular claims about the Joker, and delves into the history of comic books, and of other (...) popular media from a semiotic viewpoint to understand “The Clown Prince of Crime” in the contexts in which he existed to understand his evolution in the past. From his roots as a “typical hoodlum,” The Joker even starred in his own eponymous comic book series and he was recently featured in a non-canonical movie. This work examines what it is about the Joker which fascinates us. (shrink)

. There are many types of artistic representations of the legend of Don Juan, i.e. the universal archetype of the seducer who, through deception, conquers a woman and, once she succumbs to his charms, he boasts of his triumph, despises her, and shifts his interest towards another lady. In this work, I compare three of the most famous versions don Juan: The Trickster of Seville and the Stone Guest by Tirso de Molina, Don Giovanni by Wolfgang Amadeus Mozart and Lorenzo (...) Da Ponte, and Don Juan Tenorio by José Zorrilla. The first and third are theatrical pieces, while the second is an opera. The myth of Don Juan is essentially the same in all three, but the message and the moral vary according to the cultural movement the works belong to, namely the Baroque, the Enlightenment and the Romanticism, respectively. Key words: The Trickster of Seville and the Stone Guest, Don Giovanni, Don Juan, Tirso de Molina, Wolfgang Amadeus Mozart, Lorenzo Da Ponte, José Zorrilla, sin, redemption, sociopath. Resumen. Son muchos los tipos de representación artística —teatro, música, ópera, ballet, literatura, cine, televisión, pintura, escultura, etc.— de la leyenda de Don Juan, el arquetipo universal del seductor que, mediante engaños, conquista a una mujer y, una vez que ella sucumbe a sus encantos, se jacta de su triunfo, las desprecia y reenfoca su interés en otras damas. En este trabajo, comparo a tres de los don Juanes más famosos: El burlador de Sevilla y convidado de piedra de Tirso de Molina, Don Giovanni de Wolfgang Amadeus Mozart y Lorenzo Da Ponte, y Don Juan Tenorio de José Zorrilla. La primera y la tercera son piezas teatrales, en tanto que la segunda es una ópera. El mito de Don Juan es, esencialmente, el mismo en estas tres obras, aunque varían el mensaje y la moraleja según el movimiento cultural al que pertenecen: Barroco, Ilustración y Romanticismo, respectivamente. Palabras clave: Burlador de Sevilla, Don Giovanni, Don Juan, Tirso de Molina, Wolfgang Amadeus Mozart, Lorenzo Da Ponte, José Zorrilla, pecado, redención, sociópata. (shrink)

This essay challenges the prevailing view among critical theorists that laughter’s emancipatory power stems from its ability to speak the truth. The disparate accounts of laughter offered by Plato, Hobbes, and Nietzsche exemplify an alternative strategy for theorizing laughter as a performance of deception, or an experience that mystifies rather than enlightens. While a view of laughter as deceptive may at first appear to reduce laughter’s critical leverage over ideology, I argue that this approach offers a stronger account of its (...) emancipatory power. Speaking the truth does little more than reveal the falsity of ideology, and laughter’s capacity to actually transform society hinges on how it deceives differently – namely, in such a way that prompts the imagination and construction of more democratic institutions and modes of relating. The essay concludes by considering the implications of this argument for how we understand the role of truth in critical theory today. (shrink)

Translated from: W.V.O.Quine, W. H. O. (1986): Philosophy of Logic. Second Edition. Harvard University Press. Cambridge, Massachusetts and London, England, 47-61.

The philosopher is a fundamental mode of existence of the human being, yet it is experienced only by a minority, an elite. Those constitute, among themselves, a subspecies of Homo sapiens that is sometimes dubbed Homo philosophicus. Our goal here is to investigate, in depth, the philosophical foundations of this ontological-anthropological concept. We analyze the concept of the philosopher into three basic components: the thinker, the artist, and the mathematician, arguing that the three fundamentally participate in maintaining the operation of (...) the philosopher machine. The following text can be considered a contribution to metaphilosophy, written as a structured opinion piece, encompassing a series of reflections drawn from the writer’s own experience as a philosopher. The mode of the presentation is a mixture of personal and experimental writing styles, intentionally avoiding the rigid form of overtly analytical and argumentative discussions. Although numerous philosophers will be discussed below, four key figures, Nietzsche, Russell, Heidegger, and Guattari, occupy a special position in our overall opinionated view on the nature of philosophy. (shrink)

The idea of “literary democracy” can be traced back to the early twentieth century, which this article does by looking initially at the work of Georg Lukács. His distinctly humanist view of literar...

The way we experience, investigate and interact with reality changes drastically in the course of history. Do such changes occur gradually, or can we pinpoint radical turns, besides periods of relative stability? Building on Oswald Spengler, we zoom in on three styles in particular, namely Apollonian, Magian and Faustian thinking, guided by grounding ideas which can be summarised as follows: “Act in accordance with nature”, “Prepare yourself for the imminent dawn and “Existence equals will to power”. Finally, we reach the (...) present. How to characterise the new era we entered round the year 2000? (shrink)

De moderne filosofie lijdt aan muziekvergetelheid. Opvallend is echter dat filosofen, wanneer ze toch aandacht schenken aan muziek, hun aandacht bij voorkeur op één bepaald genre richten, namelijk de opera. Filosofen zoals Søren Kierkegaard en Friedrich Nietzsche lieten hun gedachten over Don Giovanni, Parsifal en Carmen gaan, terwijl omgekeerd de filosofie van Arthur Schopenhauer de opera heeft beïnvloed via Wagner. Diens werk lijkt zich op het snijpunt van het grensverkeer tussen moderne filosofie en moderne muziek te bevinden. Het was zijn (...) ambitie de menselijke existentie en de menselijke geschiedenis in één panoramisch oeuvre te vatten, vanaf het primordiale begin tot en met de dramatische finale die ophanden leek: een catastrofale apotheose die een geheel nieuwe toekomst mogelijk zou maken. Dat is althans de verhaallijn van zijn meesterwerk Der Ring des Nibelungen. Aan het slot van Götterdämmerung lijkt zich een algehele verwoesting te hebben voltrokken: ‘Everything is destroyed and there is an enigmatic kind of hovering over the scene of destruction’ (Badiou 2010, p. 106), een ambivalente stemming van hoop en destructie zette Wagner op muziek. Voor Wagner is dan ook een hoofdrol in deze studie weggelegd: voor zijn muziektheoretische geschriften (waarin hij over een ‘muziek van de toekomst’ filosofeerde), maar meer nog voor de muzikale totaalkunstwerken die hij daadwerkelijk componeerde. (shrink)

This article identifies a prevalent strand of feminist writing on beauty and aesthetic surgery and explores some of the contradictions and inconsistencies inscribed within it. In particular, we concentrate on three central feminist claims: that living in a misogynist culture produces aesthetic surgery as an issue predominantly concerning women; that pain - both physical and psychic - is a central conceptual frame through which aesthetic surgery should be viewed; and that aesthetic surgery is inherently a normalizing technology. Engaging with these (...) ‘myths’, we explore the tensions uncovered through a historical analysis of the practices of aesthetic surgery as well as the challenges to feminist claims offered by post-feminism. In particular we seek to destabilize the connection in feminist writing between beauty and passivity. We argue that through aesthetic references to denigrated black and working-class bodies, young women may mobilize aesthetic surgeries to reinscribe active sexuality on the feminine body. (shrink)

This article aims to conceptualize the interplay between sarcasm, scatology and writing in Darija (Moroccan Arabic or Al-Maghribia) on the web in a post-uprising era. It focuses on the new Darijophone prose that emerged after 20 February 2011 protests in Goud and The Newزحيليكر‎ (The New Bumpkin). Originating with absurdist February 20 movement founder member, Mohammed Sokrat, this writing genre is realist, vulgar, profane, taboo-breaking, and borrows from the toilet space to poke fun at the schizophrenia, herd mentality and populism (...) that attend a modernizing society under a neoliberal regime. A vocabulary of trash, waste, filthy social types and risqué gags has informed a unique online minoritarian prose that is unpopular, yet widely read. This article studies the virtual politics and poetics of dirt and laughter in written Darija. Writing at the interstices of commitment and co-optation, this subcultural mode of knowledge production reveals Moroccan youth's heretofore suppressed yet incessant longing for change in a post-uprising context of disillusionment. (shrink)

The impacts of pornography are varied and complex. Performers are often thought to be victims of abuse and exploitation, while viewers are regularly accused of becoming desensitized to sexual violence. Further, porn is held by some to perpetuate damaging racial and gender stereotypes. I contend that these accusations, though not entirely baseless, are undermined for two reasons: they rest on questionable empirical evidence and ignore many of the positive consequences porn may have. In this article, I organize my analysis from (...) the screen outward, critically examining the effects porn has on performers, viewers, and wider society, and finding that in each domain it may have both positive and negative outcomes. Following this, I evaluate porn as a form of Bakhtinian carnival and discuss how online porn may offer a mode of resisting hegemonic cultural norms. On the whole, therefore, I argue that the harms attributed to porn have often been overgeneralized and exaggerated, and that porn has a range of effects unable to be captured by a mere pro/anti dichotomy. (shrink)

Sexualized naked protest using young and attractive women's bodies have long featured in the repertoire of protest tools for interventions in public space. Antirape feminist groups and nonhuman-animal rights activist groups, in particular, have mobilized these bodies to attract attention to their causes. Contemporary debates have suggested that these sorts of protest are objectionable, and that they are entwined with contemporary rape culture. This article complicates these accounts by considering what happens when the naked body is presented as a grotesquery (...) in the service of these apparently emancipatory politics.Analyzing two instances of naked protest as case studies, this article examines what happens to naked protest when the bodies protesting are “ugly” or are rendered so. The analysis suggests that naked protest featuring bodies that are “ugly” harbors the possibility of mobilizing a transgressive politics beyond contemporary rape culture. This article has implications for better understanding how to mobilize protest in a way that is transgressive and bold without further enshrining rape culture as the normative background against which it takes place. (shrink)

“What is and what is defined as populism?” In response to this question the best political theories and philosophies have put forward many different answers, that are taken into account in this article. The article affirms the constitutive ambiguity of the concept of “populism” and its ability to unify very different issues. After analyzing some of the implications that populism entails in practice, the article stresses the link between populism and the end of the logic of the principle of representation, (...) specific of the liberal and democratic theories. The emphasis on the role of the “people” in opposition to the political elites is also a feature of populism, analyzed by the author in this article. In conclusion, the author focuses on the legal field: some of the contemporary constitutional theories, in particular the so-called “popular constitutionalism”, are discussed. These theories, while polemicizing with those authors who overestimate the role of the Supreme Court, reassess the function of the average citizen in the life of constitutional culture, with the intent of favouring greater political participation and strengthening democratic life. (shrink)

Intersemiotic translation (IT) was defined by Roman Jakobson (The Translation Studies Reader, Routledge, London, p. 114, 2000) as “transmutation of signs”—“an interpretation of verbal signs by means of signs of nonverbal sign systems.” Despite its theoretical relevance, and in spite of the frequency in which it is practiced, the phenomenon remains virtually unexplored in terms of conceptual modeling, especially from a semiotic perspective. Our approach is based on two premises: (i) IT is fundamentally a semiotic operation process (semiosis) and (ii) (...) IT is a deeply iconic-dependent process. We exemplify our approach by means of literature to dance IT and we explore some implications for the development of a general model of IT. (shrink)

By observing the mediating role of Pomarańczowa Alternatywa [Orange Alternative], the Polish artistic-activist formation of the 80s and 90s, this paper aims to determine the properties, values and ideals that make a piece of art a public act that can engage people from different social groups in play, and can allow them to reveal their self-determining agency in light of social change. Within the system of varying degrees of social permission, art should allow for the transition from the realm of (...) the “unofficial” to the realm of the “forbidden,” and should facilitate a transformation from the realm of thought to the realm of action. Art introduces an element of play into the sphere of collective behavior, and is a bridge over dichotomous social and political forces. (shrink)

The paper analyzes if it is possible to grow an I–Thou relation in the sense of Martin Buber with an artificial, conversational agent developed with Natural Language Processing techniques. The requirements for such an agent, the possible approaches for the implementation, and their limitations are discussed. The relation of the achievement of this goal with the Turing test is emphasized. Novel perspectives on the I–Thou and I–It relations are introduced according to the sociocultural paradigm and Mikhail Bakhtin’s dialogism, polyphony inter-animation, (...) and carnavalesque. The polyphonic model, the associated analysis method, and the support tools are introduced. Some ideas on how the polyphonic model may be used for the implementation of a computer application able to analyze some features of the existence of an I–Thou relation are included. (shrink)

Mask-wearing political protests have been global front page news for several years now; yet, almost no literature exists which attempts to engage the symbolic density and ritual role played by such mask-wearing acts. We argue that mask-wearing has political potentiality which relates to deeper-lying anthropological features of mask-wearing. The powers of the mask reside in the transformative ability of masks to unify and transcend key oppositional categories such as absence/presence and death/life, creating possibilities where conventional boundaries of the possible/impossible no (...) longer restrict. By questioning the communicative rationality of the modern ‘public’ and the ‘sphere’ in which it operates, we approach mask-wearing as a ‘communicative opening’. Building on earlier critiques of liberal democratic normativity, we further argue that the ‘utopia of transparency’ is itself a regulatory power and that mask-wearing exposes the very notions that were supposed to form the background of modern, emancipatory politics: transparency, free speech and representative democracy. (shrink)

This paper uses John Dewey's accounts of education, expression, and art to argue that the relegation of artistic expression to the private sphere in fact, paradoxically, undermines the opportunities for human beings to cultivate their own individual autonomy. Insofar as cultural objects are matters of artistic expression, they have the special quality of potentially drawing the attention of the public to their created and contingent character, provided that they are created in a self-consciously shared political environment. I use Bakhtin's account (...) of the " Carnivalesque " to provide an example of a social and political environment that encourages such social participation, and therefore encourages greater human agency, and use this example to point to criticisms of contemporary culture. (shrink)

This paper engages with theories of the monstrous maternal in feminist philosophy to explore how examples of visual art practice by Susan Hiller, Marc Quinn, Alison Lapper, Tracey Emin, and Cindy Sherman disrupt maternal ideals in visual culture through differently imagined body schema. By examining instances of the pregnant body represented in relation to maternal subjectivity, disability, abortion, and “prosthetic” pregnancy, it asks whether the “monstrous” can offer different kinds of figurations of the maternal that acknowledge the agency and potential (...) power of the pregnant subject. (shrink)

The proposal of the ‘Anthropocene’ as a new geological epoch where humans represent the dominant natural force has renewed artistic interest in the ‘geopoetic’, which is mobilized by cultural producers to incite changes in personal and collective participation in planetary life and politics. This article draws attention to prior engagements with the geophysical and the political: the work of Simone Weil and of the editors of the Martinican cultural journal Tropiques, Suzanne and Aimé Césaire. Synthesizing the political and scientific shifts (...) in human-world relationships of their time, both projects are set against oppressive or narcissistic materialisms and experiment with the image of the ‘cosmic’ to cultivate a preoccupation not (only) with a tangible materialism but with an intangible one that emphasizes process and connectivity across wide spatial and temporal scales. The writers’ movement between poetics and politics will be used to enquire what kind of socio-political work a contemporary geopoetic could potentially do. (shrink)

_An exploration of philosophical and religious ideas about humor in modern philosophy and their secular implications._.

In 1945–46, representatives of the U.S. government made similar discoveries in both Germany and Japan, unearthing evidence of unethical experiments on human beings that could be viewed as war crimes. The outcomes in the two defeated nations, however, were strikingly different. In Germany, the United States, influenced by the Canadian physician John Thompson, played a key role in bringing Nazi physicians to trial and publicizing their misdeeds. In Japan, the United States played an equally key role in concealing information about (...) the biological warfare experiments and in securing immunity from prosecution for the perpetrators. The greater force of appeals to national security and wartime exigency help to explain these different outcomes. (shrink)

Taking as its point of departure Leder's phenomenological discussion of the `absent' body, this article explores the nature of human corporeality as a site of transgression. The body, I argue, using a process metaphysic, is first and foremost excessive, driven by human desire rather than animal need: a sensual mode of existence organized around the pleasure/pain axis. To be excessive/transgressive, however, implies the crossing of boundaries or limits which vary according to history and culture, time and place. These issues are (...) illustrated through a range of thinkers from Bakhtin to Kristeva, Irigaray to Deleuze and Guattari. A full-scale endorsement of the poststructuralist position is, however, rejected in favour of an approach which steers a middle ground between these transgressive, more fluid arguments and a foundationalist ontology of the emotional body as an ongoing structure of lived experience. The article concludes with some reflections on the complex pattern of corporeal `appearances', some more pleasant than others, which characterize our bodily-being-in-the-world. (shrink)

This article critiques the analysis of the comic and the tragic in disability discourse and the text by Ian Stronach and Julie Allan, using the work of Mikhail Bakhtin on the theory of the novel, of language and of speech genres. Taking Bakhtin's notion that to speak or to write is always essentially dialogic, the article introduces particular dimensions of audience, disability, feminism and poststructuralism in an attempt to explore the social organization of disability discourse and to move beyond the (...) artifice of the text's stasis. It argues that unless critical theory is matched with critical response, institutionalized inequality demands that the authority of an individualized `disability' text written by non-disabled authors remains intact - even when it is accompanied by an undermining discussion of itself. The text is commonly decontextualized and remote, and the role of the disable reader, especially their role as audience, is reduced to a `simple' one - a vessel into which the authors' authority is poured. This represents a particular kind of audience experience that maximizes the distance between the reader and the text's performance and, in the case of Stronach and Allan's work, ultimately destabilizes their arguments. (shrink)

I propose some rules that regiment substitutions of NPs.

This essay assesses the use of excrement as a cultural trope in a posthumanist era. Drawing on insights from feminist, postcolonial, and animal theory, it proposes that Fossey and the film Gorillas in the Mist are popularized versions of a recurring narrative that posits feces as a sign of the both material and symbolic fluid boundaries between human and nonhuman animals, colonizers and natives, men and women, and science and nature. Specifically, Gorillas in the Mist transposes Fossey's study of gorilla (...) "dung" in the jungle, the essay demonstrates, as a repetition of the enunciation "shit." In both written and spoken form, excrement mediates between, and ultimately merges, the identities of Fossey and the mountain gorillas. In the conclusion, the essay raises some problems in theorizing the relationship between postcolonial and posthumanist theory. (shrink)

The best way to conceive semiotical spaces that are not identical to single buildings, such as a cityscape, is to define the place in terms of the activities occurring there. This conception originated in the proxemics of E. T. Hall and was later generalized in the spatial semiotics of Manar Hammad. It can be given a more secure grounding in terms of time geography, which is involved with trajectories in space and time. We add to this a qualitative dimension which (...) is properly semiotic, and which derives from the notion of border, itself a result of the primary semiotic operation of segmentation. Borders, in this sense, are more or less permeable to different kinds of activities, such as gaze, touch, and movement, where the latter are often not physically defined, but characterized in terms of norms. Norms must be understood along the lines of the Prague school, which delineates as scale going from laws in the legal sense to simple rules of thumb. Such considerations have permitted us to define a number of semio-spatial objects as, most notably, the boulevard, considered as an intermediate level of public space, located between the village square and the coffee house presiding over what Habermas called the public sphere. Urbanity originates as a scene on which the gaze, well before the word, mediates between the sexes, the classes, the cultures, and other avatars of otherness. However, this scenario is seriously upset but the emergence of the cell phone and other technical devices, as well as by the movement of populations. (shrink)

This article explores what enables a space to become festive. We start by reviewing how the festive has been deeply connected with play, to the point of being considered a type of play, or more generally, a type of interaction. What enables the festive is the ability to interact with the substance on which participants feast. The question we will then explore in more detail is: given a subject matter from which to build a festive occasion or space, how do (...) we go about making it happen? How do we model the festive space? It is impossible to show that there is only one way of going about enacting the festive. For this reason, it is more productive to propose a model of how to achieve such task. The model that emerges in this article proposes that dismembering the festive substance, in a participatory way, facilitates its enactment. We then examine two cases of festive enactment in different mediums: the textual feast of Julio Cortázar’s novel Hopscotch that turns the printed page into a festive space, and the making of festive theatre, including the creation of the festive play Fire ’Scapes. (shrink)

Throughout the 20th century, philosophers have criticized the scientific understanding of the human body. Instead of presenting the body as a meaningful unity or Gestalt, it is regarded as a complex mechanism and described in quasi-mechanistic terms. In a phenomenological approach, a more intimate experience of the body is presented. This approach, however, is questioned by Jacques Lacan. According to Lacan, three basic possibilities of experiencing the body are to be distinguished: the symbolical (or scientific) body, the imaginary (or ideal) (...) body and the real body. Whereas the symbolical body is increasingly objectified (and even digitalized) by medical science, the phenomenological perception amounts to an idealization of the body. The real body cannot be perceived immediately. Rather, it emerges in the folds and margins of our efforts to symbolize or idealize the body, which are bound to remain incomplete and fragile. In the first part of the article (1-3), Lacan's conceptual distinction between the symbolical, the imaginary and the real body will be explained. In the second part (4-5), this distinction will be further clarified by relying on crucial chapters in the history of anatomy (notably Mundinus, Vesalius, Da Vinci and Descartes). (shrink)

Humor is a surprisingly understudied topic in philosophy. However, there has been a flurry of interest in the subject over the past few decades. This article outlines the major theories of humor. It argues for the need for more publications on humor by philosophers. More specifically, it suggests that humor may not be a well-understood phenomenon by questioning a widespread consensus in recent publications – namely, that humor can be detached from laughter. It is argued that this consensus relies on (...) a cognitivist account of emotion, one that is open to debate, and that it becomes unclear what sorts of phenomena a theory of humor is supposed to explain when one questions this assumption. (shrink)

The Vita Heliogabali in the Historia Augusta consists of a political-biographical first section (1.4–18.3), generally considered to be historically useful, followed by a fantastic catalogue of the emperor's legendary excesses (18.4–33.8), generally dismissed as pure fiction. While most of these eccentricities are probably inventions of the “rogue scholar,” it is argued that the grand recital of imperial antics, more than just a detachable appendix, serves a demonstrable ideological purpose and is informed by a unifying rationale, which in turn helps explain (...) the “Lampridian” Elagabalus as historiographical construct. Within the sequence of Antonine biographies Elagabalus, ultimus Antinonorum, marks the climax in a progressive tendency towards tyranny and is accordingly styled as transcendental despot; multiple topoi from the literary tradition provide the generic coordinates for this larger-than-life portrait. Food and sex in particular, both typical elements in this context, are inflated in Heliog. into major thematic systems to signal the emperor's tyrant status, to bring out his distinctive attention to aesthetics, and to enhance the Life's literary cohesion. (shrink)

There are several strategies for exposing the defects of established moral discourse, one of which is critical argumentation. However, under certain specific historical circumstances, the apparent self-evidence of established moral discourse has gained such dominance, such a capacity of resistance or incorporation, such an ability to conceal its basic vulnerability that its validity simply seems beyond contestation. Notwithstanding the moral subject’s basic discontent, he or she remains unable to challenge the dominant discourse effectively by means of critical argument. Or, to (...) borrow a phrase from Michel Foucault, individuals find themselves faced with a certain rationality, a moral regime that dominates moral discourse to such an extent that they cannot offer any resistance without raising the suspicion of being unreasonable. They (that is, we) find ourselves confronted with a discourse quite unable to recognize its own deficiencies. Although we are forced to accept its basic claims, our chronic discontent nevertheless persists. That is, although we are forced to participate in this discourse, we remain basically ambivalent, and our attitude towards established morality contains both a Yes and a No. Then, all of a sudden, the basic vulnerability of the dominant regime dawns on us or is revealed to us – and this is the experience of laughter. (shrink)

The following text is an introduction to Ed Cohen’s book A Body Worth Defending: Immunity, Biopolitics and the Apotheosis of the Modern Body. Author investigates the way in which immunology influences the perception of both the human body, and political entities, demonstrating that contemporary conceptualizations of these phenomena exist in a double bind. The historical framework Cohen applies allows for tracing the history of the metaphor of immunity in politics and medicine.

This article explores how media content may facilitate processes of recognition through playfulness and comedy. Mediated recognition is typically understood as a matter of respectful and positive representation of subaltern groups and in terms of struggles for visibility and dignity. Yet at the same time, the media address audiences in much less deferential ways that are nonetheless consequential to processes of recognition: by means of playfulness, subversion, and irreverence. This article introduces the concept of ‘playful recognition’ to account for the (...) contradictory ways in which humor can incite recognition. The article empirically illustrates this concept drawing upon a case study of Svart Humor – a comedy show aired in Norway. On the one hand, this article explores an important yet neglected dimension of mediated recognition, on the other, it introduces a recognition perspective to the study of televised comedy. (shrink)

Drawing on Butler’s theoretical background, research on the ethics of violence has focused on the importance of dominant society-wide schemes and norms in building individuals’ moral sense of violence. Studies explain how violence is normalized and made socially acceptable. In our analysis, we build on the pragmatic sociology of Boltanski and Thévenot that places particular importance on the fact that fairness must always be appreciated in situations and provide a “grammar” to describe competing normative approaches. Studying rugby, we show how (...) the different market players (consumers, broadcasters, journalists) justify the violence that occurs during rugby matches. We contribute to the literature on the ethics of violence by providing a pragmatic understanding of violence. We contribute to the economies of worth by investigating violence in a regime of justice and justification work in a reality test (in contrast to a test of worth). This understanding of violence enables us to offer some recommendations to encourage more responsible justification work about violence. (shrink)

Conventional wisdom has it that street protests are typically driven by rage due to grievances perceived to inflict on a group. This emotive atmosphere can shape protest methods to be vandalistic to the point where armed attacks against targeted opponents are justified. This paper suggests that rage-influenced struggle can be counterproductive as it obstructs a movement from building a coalition board enough to challenge the ruling elites it opposes. This paper argues that carnivalization of protests can prevent this setback in (...) two directions. First, it potentially transforms protesters’ collective emotion from rage to cheerfulness. This effect may lessen a possibility where protesters project violent revenge on those thought to represent the ruling elites. Second, while helping protesters to address sources of their grievances, carnivalesque protests create a “friendly” image that may convince a public audience outside the movement to support its cause. In assessing a political process of carnivalesque protests, this paper bases its analysis on an account of protest actions by Thailand’s Red Sunday group emerging after the 2010 crackdown. (shrink)

In this chapter I invite the reader to consider the philosophical assumptions which underpin the early career aims and objectives of Barrie Kosky. A focus will be his “language” of opera, and the processes by which the audience is prompted to interpret it. The result will be to see how Kosky creates mystery and meaning while avoiding fantasy and escapism; and can express psychological truth while stimulating subjective interpretations. The point will be to show that Kosky’s oeuvre demonstrates a central (...) concept in the Kantian tradition of aesthetic theory regarding the key process in creative expression, and that is the evocation/communication of “aesthetic ideas”. (shrink)

Women have been marginalized in different contexts and situations. Religion, and to be more specific Catholicism, is a tradition that has divided men and women but more importantly women themselves as they represent the dichotomy of good and evil. Michèle Roberts's heroines are inspired through biblical characters who will replace the binary system of being for dualities and pluralities in the same woman as part of their identities. This paper considers the feminist procedure of Adrienne Rich's re-visioning, re-imagining and re-writing, (...) Julia Kristeva's notion of abjection plus a touch of Bakhtinian `open bodies' in the light of Catholic myths. The conclusion of this essay aims to present and celebrate Roberts's heroines in relation to their sexuality and religion. (shrink)

Este artículo describe la cultura material de la campaña de escraches, un tipo específico de activismo performativo implementado por la Plataforma de Afectados por la Hipoteca (PAH) con el fin de presionar a la clase política para cambiar la ley hipotecaria española. A partir del análisis de los círculos gigantes de cartón utilizados por la PAH en los escraches, se estudia cómo estos objetos tienen la capacidad de replantear el espacio y el tiempo de la política. A partir del material (...) etnográfico que se presenta, el artículo indica cómo se elaboran y cómo se usan estos círculos para teorizar sobre la noción de objeto desobediente. De este modo, el trabajo se centra en tres aspectos: cómo los círculos convocan diferentes actores y audiencias, su papel en tanto herramientas políticas que subvierten la narrativa oficial de la crisis financiera, y su rol como elementos clave para cuestionar la moralidad de la deuda hipotecaria y del endeudamiento. (shrink)

The “Adam Smith problem” has traditionally been concerned with the issue of authorial integrity: the issue of how a single author, Adam Smith, could have written two such apparently dissimilar, even contradictory, works as The Theory of Moral Sentiments and The Wealth of Nations. As the problem to be resolved was the single authorial origin of two such works, the perceived incompatibilities between them were explained in terms of Smith's intellectual biography – for example, Smith's travels to France, Smith's meetings (...) with the physiocrats, or the mental incapacities of an aging man. The current consensus is that the Adam Smith problem is a “pseudo problem” and that Smith's works represent a unified project, but the same reference to authorial origins now provides thr opposite claim that “the same man” wrote both books. Here the postulate of authorial integrity, “of stable integrated character, not subject to deep intellectual doubts or fissures” provides an assurance that such a man is unlikely to have written two entirely different books, an assurance underwritten by a coherent authorial intentionality that guarantees the consistency of the two works. (shrink)

This article considers women's use of the body as a site of protest by taking up women's participation in non-mainstream body modification. The use of scarification, multiple genital piercing and other practices by women in the lesbian SM movement has been considered self-mutilative (Jeffries, 1994). This article takes a different, but not uncritical, approach by examining the `reclaiming' discourse surrounding these practices and considering how this discourse reflects the feminist poststructuralist project of identity subversion.