Metaphorical analogies have been popular in different forms of reasoning, theatre and drama analogy among them. From the semiotic perspective, theatre is arepresentation of reality. Characteristic to theatrical representation is the fact that for creating representations of reality it uses, to a great extent, the materiality andcultural codes that also constitute our everyday life; sometimes the means of representation are even iconically identical to the latter. This likeness has inspirednumerous writers, philosophers and, later, social scientists to look for particular similarities (...) between social life, drama and theatre. In this paper I chose twoparticular approaches from the social sciences that make use of the metaphorical analogy of theatre in quite different, yet, to certain extent, also overlapping ways — Victor Turner’s concept of “social dramas” from anthropology and Erving Goffman’s “dramaturgy” of social interactions from sociology. The former bases hisanalogy more on the structure of the dramatic text and on a key resemblance in the (dramatic) conflict, whereas the latter builds his analogy on the principles ofperforming used in theatre, and regards characters and roles as major resemblances between action on stage and in social space. This paper examines these key resemblances and sheds light on what kind of interpretations of culture and society emerge when theatre analogies are put into action. In the concluding section some general problems, related to extended metaphors and analogical explanations the researcher needs to face with, are discussed. (shrink)

The treatment of eye brightness in Tolstoy's Anna Karenin is read to reveal a centuries-old Western eye code of love. This eye code is then used as a test of interaction theories essayed by Mead and by Goffman and of subjectivities left faceless by Foucault, Mulvey, Sartre and Lacan. The implications of Tolstoy's eye code are followed through to the conclusion that a woman in love (such as Anna Karenin) is a Nazi in the image of Hitler.

Throughout its history the Game was closely allied with music, and usually proceeded according to musical or mathematical rules. One theme, two themes, or three themes were stated, elaborated, varied, and underwent a development quite similar to that of the theme in a Bach fugue or a concerto movement.… Experts and Masters of the Game freely wove the initial theme into unlimited combinations [p. 30].

ABSTRACT:Relational leadership invokes an ethics involving a leader’s affective engagement and genuine concern with the interests of others. This ethics faces practical difficulties given it implies a seemingly limitless responsibility to a set of incommensurable ethical demands. This article contributes to addressing the impasse this creates in three ways. First, it clarifies the nature of the tensions involved by theorising relational leadership as caught in an irreconcilable bind between an infinitely demanding ethics and the finite possibilities of a response to (...) those demands. Second, it examines this ethical challenge in acknowledgement of the hierarchical discourses and power dynamics in which leadership relationships are constrained and enacted. Third, it proposes “ethical irony” as a way leaders can respond to the demand for ethics without resulting in either an escape from ethics, or being crushed by its burden. Three dimensions of ethical irony are examined: ironic perspective, ironic performance, and ironic predilection. (shrink)

This paper explores the potential for a dialogue between religious traditions based on art, in order to complement the dominant channels that rely on conceptual meanings. Building on a theoretical framework of post-Jungian archetypal psychology – as developed by James Hillman and Henry Corbin – we propose that the utility of such a dialogue inheres in the notion of an imaginal realm, or mundus imaginalis. In the first part of the paper we highlight three key features of this notion: the (...) distinction between the imaginal and the imaginary; the significance of a culturally differentiated collective unconscious; and a reflection of the imaginal in practice rather than conceptually. We emphasize the materiality of sacred symbols that emerge from the imaginal realm. In the second part, we illustrate the importance of two archetypal symbols: the fish and the chalice. The significance of these symbols in history and in the practices of communities of believers is discussed. Thirdly, we discuss specific features of the dialogue emerging from these ubiquitous archetypal symbols. (shrink)

The present-day epistemology of social science resembles a picture puzzle whose pieces are scattered to and fro across the vast domain of philosophical inquiry. This study attempts to assemble them in what appears to be a common thread of thinking for a necessary epistemic reconstruction, the historical specificity of social sciences. This understanding reveals itself as a method of validating truth in acknowledgement of three logical principles: (1) causality indeterminately becomes embedded in spatial—temporal distortions; (2) linear time is replaced by (...) multiple, overlapping timescales, ‘multiple’ being a cultural rather than numerical concept; and (3) prediction remains associated with the least historical events, the particulars; that is, event-regularities normally specific for short periods of time. (shrink)

The things themselves, which only the limited brains of men and animals believe fixed and stationary, have no real existence at all. They are the flashing and sparks of drawn swords, the glow of victory in the conflict of opposing qualities. SummaryThe conflicts between the eristentialism of Jean‐Paul Sartre and the structuralism of Claude Lévi‐Strauss present a privileged site for illuminating larger conflicts in the human studies as a whole. The present paper argues that a method for addressing and perhaps (...) resolving thes conflicts can be drawn from the respective logics of existentialism and structuralism. The essay begins by discussing the dialectical social theory of lean‐Paul Sartre and then, after treating Lévi‐Strauss's theory of structure, goes on to argue that dialectical thought generates structures, and that structuralism invites a dialectical method of construction. While an integration of methods along these lines does not constitute an integrated social theory, it can remove an important obstacle to the development of such theory. (shrink)

The things themselves, which only the limited brains of men and animals believe fixed and stationary, have no real existence at all. They are the flashing and sparks of drawn swords, the glow of victory in the conflict of opposing qualities. SummaryThe conflicts between the eristentialism of Jean‐Paul Sartre and the structuralism of Claude Lévi‐Strauss present a privileged site for illuminating larger conflicts in the human studies as a whole. The present paper argues that a method for addressing and perhaps (...) resolving thes conflicts can be drawn from the respective logics of existentialism and structuralism. The essay begins by discussing the dialectical social theory of lean‐Paul Sartre and then, after treating Lévi‐Strauss's theory of structure, goes on to argue that dialectical thought generates structures, and that structuralism invites a dialectical method of construction. While an integration of methods along these lines does not constitute an integrated social theory, it can remove an important obstacle to the development of such theory. (shrink)