The present study is aimed to scan the explanatory relevance of the concept of glocalization in some seminal works of George Ritzer. In the first instance, we will try to relate the manner in which Ritzer understands glocalization to the uses of other authors or other related concepts of the cultural globalization theory. On this occasion, we will reveal the cultural and philosophical assumptions, underlying Ritzer’s use of this concept: the understanding of the individual, mainly seen as a rational agent, (...) as well as the positive value attributed to the postmodern type of cultural mixture. We will further argue that, despite its intentions, the manner in which Ritzer defines glocalization is in fact very close to a homogenized conception of globalization. In addition, we will show that Ritzer eludes the explanatory dimension of glocalization, in favor of a descriptive stance, excessively used. We will give also a critical analysis of the way in which Ritzer attempts to enrich the explanatory quality of glocalization by linking it with a new concept that he elaborated, the grobalization. In the end, we would like to connect Ritzer’s concept of glocalization with a social/sociological model exposed by the French sociologist Alain Touraine, hoping to better clarify the mentioned problems. (shrink)

This thesis offers a systematic analysis of the ideological structure in the Islamic Republic of Iran through the lens of Lacanian psychoanalytic critique of ideology. The Lacanian emphasis on the libidinal constitution of ideology changes the object of analysis from social reality in its empirical aspects to the unconscious or disavowed conditions sustaining social reality in the Islamic Republic. The overall analysis of this thesis is divided into three interrelated research domains: the first domain of political subjectivity examines how subjectivity (...) in Iran is embedded in the ideological order, as well as how that order was constructed through the 1979 Islamic revolution by tapping into the unconscious agency of political subjectivity; the second theologico-political domain inquires into the form of ideology materialised in the socio-political framework of the Islamic Republic and analyses its libidinal sustainability; the third domain explores the political economy in Iran by conflating its historical and ontological inquiry. The analysis of the three domains helps me to discern the inherent contradictions of the ideological structure in contemporary Iran and the peculiar way these contradictions are mediated. Their mediation conversely ensures the reproduction of ideology on an unconscious level. This thesis therefore explores how ideology in the Islamic Republic of Iran enables a consistent experience of social reality and how subjectivity sustains the ideological order through libidinal investments. (shrink)

Historicizing Fredric Jameson’s seminal “Third-World Literature and Multinational Capital,” James Christie identifies Jameson’s concrete involvement with the struggles of the embattled Latin-American Left as the source of the relevance of Jameson’s theory of third-world literature to the later emergence of neoliberal globalization, which originates in mutations in the structure of U.S. imperialism that date from the time of the “Third World Literature” essay.

This exegesis questions and explores the types of identities that are emerging as a result of human engagement with contemporary communications and media technology. These identities are communicated, shaped and defined by the way we appropriate and engage with a smorgasbord of communications and media consumption technologies which merge in our imaginations to form a technosocial mediascape. As artist and teacher, consumer and prosumer, I participate in the technosocial mediascape, along with colleagues, students, artists, friends and family members. As we (...) produce, communicate and ultimately co-create that technosocial environment, how are we changed by this experience? We contribute to a diverse and globally circulating, but paradoxically transient parade of data and media that apparatuses and humans together bring into existence. How does this mediascape impact on human ontology and sociology? What are the different ‘positions’—relationships with the mediascape—that emerge? My method derives from analysis of my own experience as an engaged and flexible ‘position-taker’ within the technosocial mediascape. I analyse my own creative practice with reference to a range of modernist, postmodernist and media theories. The technosocial enshrines the idea that technology and human behaviour are not separable, and draws on many theoretical sources, including phenomenology, the philosophy of language, design theory and digital media theory. All media, and mediums, are technosocial, because they impact on the praxis of identity. However, a range of contemporary media and mediums are more explicitly technosocial, and that is where my focus lies. I will suggest that the role of language in technosocial contexts is peculiar, important and under-theorised. Our ‘linguistic apparatuses’ offer an alternate concept of technology to the ‘heavy modernism’ of Martin Heidegger. I will explore ways in which technosocial engagement privileges fluid identities which drift in and out of different but co-existing realities. Various types of ‘immersion’—some neo-baroque and some neo-romantic—contribute to technosocially-engaged identity construction. Thus, our engagement with the technosocial mediascape challenges received ideas about personal identity, and indeed, the nature of the real. (shrink)

Due to great importance in the construction of theories it is imperative to analyze the nature of time and space and their use by scholars, societies and subjects. This text is the product of such analysis. My claim is that the validity of an argument depends on the spatial and temporal conditions that it is produced in. Moreover, I posit that time and space have been used in order to impose regimes of oppression over different collectives. My intention, however, is (...) not only denounced these uses because the oppression of the societies, to present the lack of such arguments. In other words, arguments based on universality of time and space have been the cornerstone of modern knowledge. This knowledge justifies regimes of oppression in different parts of the world. However, the intention of this analysis is not to denounce the lack of humanism in this knowledge, but to present the falsehood or incompleteness of this knowledge. It is not only wrong because its lack of humanity which justifies the inhuman regimes of oppression. It is also wrong, since its premises are false. (shrink)

This study creates and develops a concept called the untimely-image including two sub-concepts called contours of the new and the untimely-site. The untimely-image concerns the clearing for and the expression of figures of “potential” in thought in the form of moving-images. The aim of these concepts is to form a critical framework for evaluating and conceptualizing political film as expressive, not of the new itself but of its “untimely” contours. The untimely-image, and its many implications, is developed over the course (...) of six chapters. Chapter 1 extensively defines “contours” and “new” as operative in this study, and also introduces a theme that runs through all the chapters: how to think the contours of the new in relation to the cult of the new in consumer culture and in relation to the larger mechanisms of advanced capitalism. Chapter 2 defines the parameters of the untimely-image as specifically regarding moving images, and continues the development of this concept. In Chapters 3 to 6, The Wire serves the double function of complicating and giving specification to the elaboration of the untimely-image as well as a case in which the untimely-image is used as a critical framework. The Wire and the untimely-image relate in processes of juxtaposition, wherein they meet, cross over, separate, and reproblematize each other. An untimely-image is fully defined in relation to concrete political issues. The untimely-image is therefore advanced by articulating the components and characteristics that, independently of the concrete issue, remain in every case, as well as by putting the concept to work regarding two specific problems in The Wire: its expression of blackness and its mapping of advanced capitalism. (shrink)

This thesis attempts to describe and interpret the design practice of an American architect, Frank O. Gehry through concepts developed by French philosopher Gilles Deleuze and his collaborator, French psychotherapist, philosopher and activist, Félix Guattari. At the same time, prototyping a website-based interactive project called PLATEAU GEHRY_CONNECTIVES, it explores an alternative form for the Doctoral thesis. In addition to connections with visual arts, such as painting and cinema, the experimental project PLATEAU GEHRY_CONNECTIVES includes references to concepts and phenomena from various (...) areas of knowledge revealing distinctive, unusual qualities of Gehry’s creative approach in the production of design artefacts. The thesis documents and discusses means of representation in architectural design fused into the specific creative culture of Frank O. Gehry. It notices that the discourse in architectural theory and practice, often neglects what occurs on a particular molecular level of the architectural design process. It shows that elements of micro-level of design procedures render Gehry’s idiosyncratic design phenomena intelligible and perceptible in a new way. It claims that it has been possible because Deleuze and Guattari’s concepts become perceptibly operational in the interpretation of such phenomena, at the level of elementary units of Gehry’s design procedures. Moreover, through this close-up perspective, the thesis’ investigations identify certain similarities in the operational modes of the architect and the painter. It demonstrates how Gehry, who has anchored his interest in painting, and specifically in what he defined as ‘immediacy in painting,’ was able to transform the practice of architectural drawing from projective to a cognitive one. It also shows, how the architect re-defines the commonly applied projective geometries from passive, arbitrary role to an active agent, and how the architect links drawing practice with the construction process on a new, almost palpable level. While stressing its the manual character, the thesis demonstrates that Gehry’s explorative culture of challenging means of representation employed in architectural design production facilitates the re-disciplining of architecture culminating in the integration of the CATIA system in the design procedures. This study of Gehry’s design actions and strategies can help the reader to understand the significance of experimental and intuitive design practices. The thesis proposes the Deleuzian interpretation of Gehry’s experiments in the aesthetics of design thinking and acting. It renders perceptions of patterns, according to which, other design practices can operate. (shrink)

The major objective of this thesis is to provide an alternative to the predominant model of the Western urban home, arguing that it is more detrimental than beneficial to its inhabitants. In order to achieve this, it first explores the development of home through a genealogical analysis. It then considers the concepts with which it is traditionally connected, such as those of identity, safety, privacy and satisfaction, supporting that the idealised home hides numerous issues of concern. In order to form (...) a more comprehensive picture, the thesis draws on different philosophical approaches discussing the idea of home, while it explores a variety of contemporary habitation and home-making practices. The normative and overly-idealised domestic model, promoted in Western urban societies, is presented as detrimental both on a personal and on a social level. Therefore, alternatives are explored in Adorno’s ‘Hotel Room’, Jameson’s ‘Dirty Realism’ and Deleuze and Guattari’s ‘Nomadology’. The lack of viability characterising the abovementioned proposals leads to the examination of the Deleuzoguattarian concept of the Body without Organs; the home as a BwO provides the contemporary agents with the tools to reconstruct an autonomous space where they can recreate their personal discourse and influence the social ground accordingly. Through the analysis of home this thesis explores how and why it has been appropriated by systemic forces and highlights a very serious issue: the fact that our personal space is no longer personal. Simultaneously, a common concern of feminist and post-structuralist background is addressed regarding the process of self-redefinition and the ways to approach it. The response entails a reconstructed autonomous home with a respective influence on the public sphere. (shrink)

This thesis interrogates Nietzsche's ubermensch, a figure capable of overcoming the universal absence of value, and asks how it might logically be realised in light of postmodern developments in nihilism, capitalism and technology. We argue that in order to exist beyond the nihilistic nature of capitalism, one possible solution might be superintelligent artificial intelligence. We first explore the oft-overlooked problem of the village atheist, who rejects god whilst still clinging to theological values. We next look to nihilism in postmodemity, analysing (...) semiotic and hermeneutic developments and highlighting the forces that dictate contemporary society. We then tum to capitalism, understood as a repetition of Christianity, redefining the village atheist as a figure trapped in the nihilism of semiocapitalism. Finally, we tum to technology and the future, where we reject transhuman narratives as farther repetitions of salvation, instead developing an understanding of superintelligent AI as ubermensch based on its potential to exist beyond the trappings of manmade value. This thesis simultaneously outlines the difficulties of overcoming nihilism through transhumanism whilst highlighting the dangers of embracing ubermensch, instead suggesting that a reclamation of the human posits greater grounds for survival, where the embrace of a hermeneutics of nihilism allows for smaller short-term truths. (shrink)

This thesis investigates a theoretical response to the question of what constitutes the political implications of the 2008 Global Financial Crisis. This thesis, working within the tradition of critical and cultural theory, undertakes a sustained engagement with the works of Jacques Derrida to theorise the traditions, norms, and practices that inform a response to an event such as the crisis of 2008. This thesis works with his proposals that: the spectre of its limitations haunts politics; that this has led to (...) the ‘deconstruction’ of the meaning of politics through complex textual frameworks; and that this dynamic leads to a tension between the arrival of new political possibilities on the one hand and new forms of political sovereignty on the other. After examining the significance of Derrida’s approach and secondary literature debating its interpretation, this thesis deconstructs the political implications of the crisis from politics in the traditional sense of the nationstate, the textual politics of scholarship, and finally the politics of the media, the domain, I argue, that incorporates the most discrete and sophisticated forms of sovereign decision-making. Finally, this thesis opens up its findings to secondary literature that suggest contrasting arguments. (shrink)

What happens when the memoirs of Soha Bechara, a Lebanese revolutionary, become the raw materials for a late-symbolist playwright? Bechara, her fellow militants, and the interviewers and documentarians who have focused on them produce a complex realist narrative of communist resistance to Lebanese sectarianism and Israeli occupation. But by turning Soha Bechara into Nawal Marwan, Wajdi Mouawad and the culture industry turn an eloquent, militant Antigone into a catatonic, ill-fated Jocasta.

U članku se ispituju teme i metode kritičke teorije u polju analize rada i s radom povezanih pitanja, a u kontekstu ekonomije postindustrijskog društva. Pri tome se revitalizira francuskog filozofa Jeana Baudrillarda te njegovu teoriju rada koja naglašava simboličku dimenziju rada. Članak ističe važnost Baudrillardovih interpretacija rada putem teorijskih koncepata Imaginarnog, Simboličkog i Realnog, a koje je 1960ih utemeljio francuski filozof i psihoanalitičar Jacques Lacan. Rad kontekstualizira njegove osnovne teze o karakteru rada u postindustrijskom društvu, koje on postavlja krajem sedamdesetih (...) godina, suočavajući ih sa suvremenim kritikama koje, pogotovu nakon ekonomske krize 2008. godine inzistiraju na vraćanju klasičnim pitanjima kritike političke teorije. Mapirajući razlike između definicija simboličkog karaktera rada i materijalističkih interpretacija koje nastaju u nasljeđu Marxove kritike političke ekonomije, članak upozorava na nužnost uključivanja obaju teorijskih paradigmi, spajanja političko-simboličkog i ekonomsko-materijalističkog pristupa. Inzistirajući na važnosti obaju pristupa, pokušavaju se protumačiti prisutne anomalije u doba navodne dematerijalizacije rada, kao što je to paradoksalno povećanje radnih sati nauštrb nasljeđa osmosatnoga radnog vremena. (shrink)

This text was first published in Geografiska Annaler, Series B, Human Geography, vol. 90 , March 2008 : 1–15. We thank gratefully Professor Robert Dodgshon for granting us the permission to reproduce it. ABSTRACT : From the moment it began to engage with time in a considered way, human geography has employed a variety of analytical and conceptual approaches to it. Recent work especially has greatly extended the range of these different approaches by stressing the innate - Géographie – Nouvel (...) article. (shrink)

Reconstructing the content of Xunzi’s moral knowledge is the main goal of this thesis. A first main task of this reconstruction is to provide a clarification of the content and functions of li. A second primary goal of the reconstruction is to discuss the roles and functions of the moral sage or morally superior person, junzi, in Xunzi’s account of moral practice. The figure of the sage is important in explaining the rationale of li and exemplifying how to behave in (...) accordance with the rules of proper conduct in different situations. As truth is essential to knowledge, it is crucial to understand how moral belief can be truth-apt within Xunzian theory. To that end, the thesis reinterprets the doctrine in terms of Railton’s subjective naturalism. In the literature on Xunzi’s moral thought, the problem of the cognitive status of moral judgment has been neglected, and this thesis attempts to remedy this oversight. This thesis is divided into two parts. Part one mainly elucidates the content of Xunzi’s moral knowledge. It includes an exposition of the origin and several functions of li and the significance of the sage and his or her close relation with li. In part two, the argument focuses on whether Xunzi’s moral knowledge is truth-apt and reconstructs his position into terms of subjective naturalism. (shrink)

This study is an intervention in postcolonial theorising through a critique of technologies of representation. It examines the effects of technologically-mediated representation in a postcolonial condition that the Philippines has exemplified. New media technologies are mechanisms of representations that embody the logic of spectrality presented in Jacques Derrida’s later work. Spectrality, which brings doubts, ephemerality, and instability to dominant discourses and modes of representation, provides a chance for change.Spectres are effects of technologically-mediated representation that articulate the infinite demand for justice (...) under conditions of enduring inequality. As quasi-transcendental elements of deconstruction, spectres are not reducible to either human or technical intervention; they express the relation of humans to technologies, in which representation is central to the mediation of political authority. This technological representation is the condition of what Derrida calls “iteration,” or the transformation of hegemonic authority through the very repetition of its fundamental terms of identification. The examination of emancipatory new media technologies in a postcolonial condition is inspired by the work of Jacques Derrida, in his deconstructive reading of Marx’s spectres. However, the writings of Habermas and Adorno have offered an implicit appraisal of the ontology of spectres. Habermas’s theory of the public sphere and Adorno’s negative dialectics are discourses that unwittingly solicit spectres. The account of the postcolonial condition in the Philippines works through the questions of universality, subalternity, and the right to theory that are raised by the project of Western critical theory. (shrink)

While the groundbreaking insights that contemporary theorists have formulated with regards to space---as a multiplicity without essence, as an active event, and as inseparable from subjectivity, power, Otherness and time---have ostensibly purged it of its traditional understanding as absolute, a specific visuality characteristic of Cartesian perspectivalism remains privileged in its theorization which force it to remain so. While the complexity of space cannot be recovered from an abstract contemplation of its visual geometry in a way that reflects these contemporary concerns, (...) there have unfortunately been relatively few attempts to imagine space away from the visual in a way that challenges its traditional absoluteness. To this end, it is argued that because sound and music contain implicit and explicit spatialities, the sonic represents a rich and unexplored area from which to imagine a radical non-visual space that discursively organizes space according to a different economy through which to challenge its assumed visuality. And yet, even when space has been approached through sound, there is a tendency to exteriorize sound into an object or a set of practices that robs it of its defining quality---its own "soundfulness". By breaking down those factors that are considered salient to how space is conceived today along sonic rather than visual lines, the argument is made that the "soundfulness" of sound's physical properties gives it a complex texture of excess that is corporealized within the body and forwards the philosophical possibility of unfolding the spatiality of sound according to vectors beyond the visible in a way that, while reflecting contemporary concerns, prevents its return to absoluteness. To take seriously this "soundfulness" thus allows us to recuperate the sonic as a philosophical and political way of experiencing and knowing the world, including that of space. The arguments, as well as being drawn from the insights of contemporary spatial theory, the physics of sound, the phenomenology of listening, rhizomatic and feminist theory, quantum mechanics and musicology, will be explained through an understanding of space as sound and exemplified in The Disintegration Loops, a post-minimalist musical piece by sonic artist William Basinski. (shrink)

In this article, I examine the relationship between environment and political consciousness, articulating an argument that links the organic side and the economical level of environmentalist claims, and exposing some of the social movements and political positions that were coined in the Basque Country in the end of the 20 th century and beginning of the 21 st century. Some of the protests linked to environmental causes in the Basque Country fit with the narratives that give access to the new (...) century and describe the coming concepts in the form of advent with regards to notions like sustainability, organic, energy policies, post-ideologies and even the relationship between food and environment in more recent years. In this direction, environmental movements have succeeded in confusing the materialistic goals of their claims and the very materialism implicit in nature. Thus, I claim that these movements have complied from conservative positions rather than progressist positions. Therefore, there has been an asymmetry with the ideological portion of these claims and protests and the truly emancipatory goals of any progressist position. If the drive for sustainability can counter materialist and idealist proposals, we need to find a solution where “sustainable” means organic without the bodily part of the organic term itself. (shrink)

This thesis arises out of a critique of the way language is decontextualized and presented from a reductively linguistic viewpoint in foreign language instruction. In particular, it focuses on the weaknesses of the broad approach known as Communicative Language Teaching (CLT) and highlights the disparity between its theoretical assumptions and practical applications. With this in mind, the thesis identifies and explores three foundational premises that should be considered as part of an attempt to design a theoretically coherent framework for foreign (...) language instruction. By applying three sets of principles based on these premises, the thesis goes on to outline such a framework. After providing a background to the study, the first consideration is the nature of cultural and communicative performance. The study turns to sociological concepts regarding cultural organization and production, in order to better conceptualize how 'culture' can be understood in the context of foreign language learning. The second part of this area focuses on meaning and communication in order to undermine current treatments of 'language' in foreign language pedagogy. The second area of interest is that of learning and thus considers a number of theories of how people learn. The focus here is on learning-in-general rather than learning languages specifically. What emerges from this are a number of principles that should be borne in mind when creating conditions favorable to language learning. Finally, one largely overlooked area in foreign language learning and applied linguistics more broadly, is how the field of foreign language pedagogy constructs and legitimizes its practices, as well as suppresses its foundational theoretical assumptions in its activities (including research, methodology and teaching). A chapter is therefore devoted to this issue, and a set of principles is formulated in order to ensure that the design of any instructional framework is honest and ethical. Thus furnished with the triangulation of principles, an attempt is made to outline how a learner-focused, ethical pedagogical framework that stresses culture might look. This thesis is theoretical in nature and relies on arguments and positions from diverse and less commonly considered academic fields in foreign language instruction. Its main theoretical inspiration comes from concepts and claims generally considered 'poststructural' or 'postmodern'. However, there is no exclusive devotion to any particular author or theory. It is hoped that this thesis can make a genuine, if not controversial, contribution to the field of foreign language teaching by initiating a dialogue concerning the (lack of) philosophical and epistemological reflexivity in the field. (shrink)

This thesis examines how designs based on a conjunction between craft and digital techniques may offer new possibilities for an architect or designer in contemporary practice. How is it relevant that what initially appear to be two distinct approaches to designing and making can be introduced to each other and coalesce to form a constructive attitude of mutually borrowed logic? The thesis champions the crafting of innovative design and the incorporation of digitally derived procedures that allow for globally efficient dissemination (...) and malleability. Such procedures have occupied the practice of architecture and design for some time, giving rise to the current sobriquet of a 'post-digital age'. I propose that at this point in time we can usefully speculate on the relationship between physical making and computer-based production. Too often the stylistic overtures popularly attached to the terms 'digital' and 'craft' narrow our perception of what each term may encompass and how they are likely to manifest. Traditionally, digitally derived design practice is attributed the efficiency of a mathematically precise mode of operation - an oscillation between zeroes and ones that produces a universal logic of smoothly rendered forms. By contrast, 'craft' is often cast into the realm of amateurish making, complete with mistakes, dropped stitches, fingerprints or other traces of human fault that are understood as being charming in the context of handmade human endeavour yet fall short when measured against 'serious' artistic categories that include architecture, design and fine art. This thesis seeks to move beyond such accepted and somewhat polarised positions. First, the thesis offers clearer and more dynamic definitions of the terms 'craft' and 'digital', seeking the ability for each to hold fast to the inherent merits of their particular logic while also finding productive opportunities to integrate with each other. Second, the thesis examines how crafted production can combine with digital tools to offer a useful direction for contemporary design practice. Case studies of contemporary architects' and designers' works are drawn on to illustrate and make observations on the different relationships that the selected practitioners have discovered in their projects, all of which conjoin the conception and manifestation of digital craft. The case studies vary in scale from fabric and furniture production to large-scale installations of significant spatial effect, to entire architectural projects. The range is useful in discussing how the concept of digital craft in architecture can be re ad from various perspectives. This reflects the numerous ways in which digitally created design is used to realise crafted results and is mindful of the fact that architectural processes often follow technological innovation first practiced at more intimate scales such as in industrial design. It is also interesting to compare the idea of the more intimately scaled relationship that craft has traditionally held with architectural practice. Finally, the thesis will speculate upon future developments for the conjunction of digital craft in architecture and design, and will pose several questions for further discussion. (shrink)

During the past two decades, critics have taken an interest in explaining the ideological ambivalence expressed in Chicana/o literature. Most critics correctly point out that Chicana/o ambivalence cannot be separated from the conflicted material realities historically experienced by Mexican Americans, but this view has not prevented some critics from tiptoeing into the idealist terrain of postmodernism. Postmodernist theory has provided Chicana/o criticism with conceptual tools for explaining the heterogeneity of culture, but its antagonism toward history and class analysis has limited (...) the potential for Chicana/o studies to develop an effective social criticism. Two postmodernist terms used to describe ambivalence are "cultural schizophrenia" and "heterotopia." Historical materialism — a method that makes truthclaims about social existence after a rigorous critique of the concepts and ideas that emerge from that existence — stands as a viable alternative to postmodernist theory for the interpretation of Chicana/o literature. (shrink)