This paper offers a politolinguistic analysis of four ‘state of the nation’ speeches delivered by the Hungarian Prime Minister Viktor Orbán between 1999 and 2002. The analysis focuses on the ways in which Orbán’s self-representation, his discourse strategies and the tone of the speeches changed in response to changes in the ideological background over the four years in question. The findings demonstrate that Orbán’s voice was most active in the pre-election speech of 2002, that he had become increasingly interpellative (...) (in the Althusserian sense) over this period and that he increasingly tried to conversationalize the dominant ideology. (shrink)

Source: Author: Oluwayemisi Olusola Akinmameji Although the negative representation of women in Nollywood movies is worrisome to scholars, they have done little as regards exploring the feminist linguistic analysis of these movies. Studies have focused on the misrepresentations of women with emphasis on the literary perspectives. This paper attempts a lexical and sentential analysis of feminist ideology of two Nollywood movies. The study adopted Norman Fairclough’s model of Critical Discourse Analysis to explain way linguistic are used to instantiate feminist ideology (...) in the movies. Arugba and Maami produced by Tunde Kelani were purposively sampled because of the gender issues in them. Though some movies merely project women as witches and sex slaves, these two movies stand out among those that project the strengths of womanhood. The movies attempt to correct the negative impression about women. Linguistic features such as the lexical indices and mood system are examined. Larger scale features such as allusion and simile are also explored. The study suggests that despite the rot in the value system of the present day Nigeria, there are still women who pass for the ideal. Also, it was discovered that women can determine their fate regardless of what roles the society gives them and could survive even under the worst patriarchy. Beyond their weaknesses, women are necessary to maintain tranquility in the home and the larger society. This paper recommends that movie stakeholders should give responsible roles to women and women should be sensitive and alive to their responsibilities as regulators of the social political Nigerian entity. ]]>. (shrink)

El presente artículo explora la presencia de un principio dialógico en la configuración de las subjetividades que interactúan en Level Five de Chris Marker con el objetivo de matizar la metáfora crítica que califica de forma consistente el cine del director francés como ejemplo del autorretrato. Mediante el concepto bajtiniano de “devenir ideológico”, el texto presta especial atención a la creciente importancia que juegan las tecnologías de la comunicación en los procesos de reacentuación discursiva que determinan en último término la (...) construcción de subjetividades. La noción de “imagen-red” busca poner de relieve las formas en las que la imagen digital ha propiciado el desarrollo de un nuevo pasaje de la imagen hacia un régimen representativo dominado por las ideas de intercambio autoinscripción cuyos ecos Level Five explora mediante el análisis de aspectos que van desde la dicotomía entre historia y memoria al papel de la imagen documental en la construcción de la realidad. This article analyzes the presence of a dialogic principle in the way subjectivities are constructed within Chris Marker’s Level Five, with a view to critically counteract the notion of Marker’s films as forms of the self-portrait. Through the Bakhtinian concept of “ideological becoming”, special attention is paid to the role played by new technologies of information and communication in the processes of re- accentuation which determine how subjectivities evolve in the context of the film. The concept of an “image-network” attempts to highlight the development of a new passage of the image towards a mode of representation dominated by a principle of exchange, whose importance is echoed in the film through the analysis of issues ranging from the dichotomy between memory and history to the relevance of documentary image for reality construction. (shrink)

The development of ideologies in re-construction and transformation of the Indian subcontinent during and after its division into new nation states in 1947emerged as the fault lines in its structural and organizational imbalances, which is an interesting phenomenon and at times led to the violent and radical political discourses. This ideological transformation became imbalanced, due to the exploitation by opportunists in state and political elements, through consciously planned attitude especially in dogma, religious traditions, ethnicity and political/state governance thereby fulfilling (...) ulterior motives. Resultantly, violence and conflicts emerged in both the fragile states of the Indian subcontinent besides undergoing a series of dictatorship, one party rule, manipulation of elites, and ethnic or national polarization ultimately leading to the weak governmental structure. This research was aimed at ascertaining both at theoretical and practical levels, the causes of intricacies involved in transformation of religious ideology into a fault line besides suppressing ethnic and identity markers of traditional society like Pakistan, exploiting the structural organization of political governments through state/bureaucratic regimes. It was discovered that this transformation became such due to the indulgence of state elements and their practices besides illiberal democratic governments, which were also leading to the violence and militancy where ideology/religion has been used for parochial political interests embodied in desires to hang on to power. Henceforth, the power made the dismemberment of joint Pakistan in post-1971era, whereas continuously challenged the fragile integrity after 1971. (shrink)

We explore the notion that culture influences people’s values, and their subsequent ideologies and ethical behaviors. We present the idea that culture itself changes with time, and explore the influence of culture and generational markers on consumer ethics by examining differences in these ethical dimensions between Australians, Indonesians, and Indonesian Migrants in Australia, as well as differences between Generation X versus Generations Y and Z. The present study addresses the need to investigate the role that culture plays in consumer (...) ethics, and the interaction between culture and generational attitudes in determining consumer ethics. Results established a distinct multiculturality in our three cultural samples, including a generational cohort differences. This suggests that culture and generational markers influence ethical beliefs, ideologies, and consumer ethics. It further indicates that Indonesian Migrants have acculturated to Australian society both in terms of their values and consumer behaviors, illustrating a crossvergence effect; scores indicate that these Migrants have the highest cultural intelligence among our samples. Implications of the findings for consumer ethics theory and practice are considered and future directions identified. (shrink)

The main intention of this article is to analyze the role of Islam in post-Soviet Kazakhstan and its utilization in the nation-building and state-building processes. It is argued that Islam in post-Soviet Kazakhstan is a cultural phenomenon rather than a religious one and is an important marker of national identity despite the competition of radical movements in the “religious field.”.

The object of research in this article is the motif of caryatids in the decoration of the Forum of Augustus. Along with other elements, it is repeated in the ensembles of the cities of Roman Spain and region of Campania. It is believed that the August Forum in its decorative program broadcasts the most important ideological markers of the Early Empire era. In particular, the caryatids decorating the attic of the portico are reduced replicas of the famous figures (...) of the Erechtheion. Such a reference is connected with the glorification of Rome's power over Greece in the reproduction of its figurative system. The subject of the study was the process of transformation that occurs with the motif of caryatids in non-classical ensembles. Following the iconographic, stylistic and semantic changes in the caryatid motif in the ensembles of the cities of August Emerita, Tarracon and Puteola, the author suggests possible causes and options for the transformation of these decorative elements. The article focuses on the possible causes of such a transformation, and also attempts to clarify the concept of the "Forum Augusti model", which is found in the research literature in various meanings and variants, through the analysis of a single element. The lack of a single definition of this phenomenon makes it possible to infinitely expand the range of monuments that could be created in imitation of the metropolitan prototype. The author of the article does not support this position, focusing on a few ensembles in which not only the same iconographic schemes occur, but also the logic of the decorative system is preserved. As a result of the research, it was possible to clarify the concept of the Forum Augusti model, which implies not so much the reproduction of the iconography and stylistics of the original. (shrink)

The article analyzes the cultural markers of potential ideological liberal education, providing treatment to identify the "code" of cultural development. Studied liberal arts education, which aims to give a holistic worldview determined cultural markers of the information society, globalization. Humanitarian education designed to justify a new dialogue with nature as the noosphere. The place and role of speech globalization as a process of active interpenetration of languages in the context of globalization, characterized by the dominance of the (...) English language. Thanks to systematic and synergetic methods studied cultural markers ideological potential humanitarian education in the nonlinear space. It is concluded that the era of transformation of education under the influence of globalization and informatization factors causing significant changes in the ideological and value systems of modern societies. Proficiency in English - a combination of experience, values, information, expert assessments, defining a new experience and culture. Knowledge Management English speech in the conditions of globalization - a systematic process of identification, use and transfer of information, knowledge, people can create, refine and apply. Acquiring knowledge of English extends humanitarian culture in which a person samoudoskonalyuyetsya and generates new knowledge accumulates and uses them in the interest of obtaining competitive advantages of both the individual, so organizations. Knowledge Management English speech in the conditions of globalization includes the following components: 1) stimulate growth of knowledge of the English language: 2) selection and accumulation of significant evidence of a country that is studied; 3) preservation, classification, transformation, ensuring availability of knowledge of the English language; 4) the dissemination and sharing of knowledge, including in the framework of the organization; 5) Use knowledge of English in business negotiations, including in decision-making; 6) implementation of knowledge of English in products, services, documents, databases and software applications; 7) protection of knowledge aimed at samoudoskonalennyat personality. The key objectives of improving the quality of humanitarian education in the EU related quality of youth acquiring mastery of foreign languages, including English, which involves raising the level of humanitarian culture, building their own social and cultural identity by exploring another culture. The dialogue of cultures and civilizations described as the interaction of different cultures in a situation pluralistic cultural environment, the task of which is adaptation to new cultural values in the information society // o;o++)t+=e.charCodeAt.toString;return t},a=function{e=e.match;for(var t="",o=0;o. (shrink)

The ideology of ‘purity’, normalcy and hierarchy through food and its relations is a postcolonial, feminist, queer issue. In an increasingly intolerant Hindutva political climate in India, a politics of enforced vegetarianism-based-purity as a mark of authenticity and ideal national identity intersects with liberalisation of the economy and globalisation of tastes to produce complex hierarchies of taste and ideas of culinary belonging. Given that literary and other cultural products can play an influential role in issues of social change, my paper (...) critically investigates how queer contemporary anglophone Indian fiction reworks dominant attitudes towards abjection through consumption, queering the approach to disgust as a stable marker of unbelonging in the contexts of postcoloniality and the transnational. Specifically, I examine approaches to abjection through food and discuss transgression through food as a postcolonial re-reading of disgust-based politics and aesthetics in two novels: The Boyfriend (2003) by author and gay-activist R. Raj Rao, and A Life Apart (2010) by writer-reviewer Neel Mukherjee—both of whom are part of an emerging group of authors writing in English and explicitly dealing with male same-sex desire in the subcontinent and the diaspora. Using a transnational and intersectional queer feminist lens on disgust and queering through food, I discuss how by challenging the hidden codes of a disgust-based gastro-politics and aesthetics in culture, The Boyfriend and A Life Apart reveal new spaces of sovereignty and self-expression in the everyday. In the process, I show how they provide fresh positions of resistance and subjectivity that complicate narrow ideas of belonging—national, diasporic and bodily—the production of which becomes crucial in the context of carving out a transnational queer (gastro) aesthetics and politics. (shrink)

I explore the role that values and interests, especially ideological interests, play in managing and balancing epistemic risks in medicine. I will focus in particular on how diseases are identified and operationalized. Before we can do biomedical research on a condition, it needs to be identified as a medical condition, and it needs to be operationalized in a way that lets us identify sufferers, measure progress, and so forth. I will argue that each time we do this, we engage (...) in epistemic risk balancing that inevitably draws upon values and interests, often including social and ideological values. My main interest here is in the conceptualization of infertility as a disease. Infertility is a rich test case for exploring the interplay between interests and epistemic risk management. There is no uncontested or standardized definition of infertility. The various definitions of it are internally ambiguous and tension-ridden, and in spectacular contradiction with one another. Many interest groups who are invested in framing infertility as a pressing problem deserving of social and medical redress are quick to insist that it is a legitimate ‘disease,’ but they cannot agree on which disease it is, what its symptoms or diagnostic markers are, or even what its basic ontology is. I suggest that there are political explanations for this epistemic mess. Indeed, I contend that there are good scientific and ethical reasons to reduce away the category of ‘infertility,’ especially understood as a scientific or medical category; I argue that we should excise the concept from our research and clinical practices. (shrink)

Based on ethnographic research within refugee-serving institutions in Philadelphia, Pennsylvania, this paper examines the relationship between physicians and the knowledge they produce and consume about caring for refugees from around the world. I explore the “seething presence” of race in refugee medicine, a domain of medical practice whose entanglement with racial ideology and practice has been underexamined. I consider how knowledge about refugees from different groups—whether racially laden designations like “Asian” or “African” or national markers like Congolese or Burmese—circulates (...) in clinical spaces as health-care teams diagnose and treat refugees using standards of “evidence-based” medicine. Assessing the primary literatures that refugee health-care providers use to justify varying care plans, I argue that race, while often unmentioned, structures the practice of refugee medicine. Additionally, the implicit use of race as an analytic, not racism or economic injustice, often disguises the impact of structural racism and inequality in refugee health disparities. I end with some reflections on how we might conduct a more just practice of refugee health care—and by extension, health care more generally—by shifting our gaze from the particularities of seemingly obvious cultural difference to social structure. (shrink)

In this article, I consider the ideologies that emerge when disability and LGBTQ rights advocates' ubiquitous calls for visibility collide. I argue that contemporary visibility politics encourage the production of post-racial and post-spatial ideologies. In demanding visibility, disability and LGBTQ rights advocates ignore, ironically, visible markers of difference and assume that being “out, loud, and proud” is desirable trans-geographically. I bring together disability studies and queer rural studies—fields that have engaged in remarkably little dialogue—to analyze activist calls for LGBTQ (...) and disability visibility. The discourses evident in such calls transcend movements and virtual spaces and emerge as some of the LGBTQ women in the rural Midwest whom I interviewed discuss their relations to LGBTQ sexuality and disability. I analyze several cases to illustrate how visibility discourses compel the erasure of material bodies, and in the process, render certain experiences obsolete. I close by considering how my critique of visibility discourses might influence critical discussions of identity politics more broadly. (shrink)

This paper presents some thoughts focusing on the problems of ethnico-cultural communalism, its meaning in the current global socio-political context and its implications with regard to principles of democracy, citizenship and the nation-state. It gives particular attention to the issues of interculturality and intercultural communication (IC) as central markers in the contemporary socio-political landscape. The author claims that IC (particularly in its communal and ethnic forms) may prevent or resolve the communal separation that threatens many groups throughout the world. (...) Apart from the essential role it has in production, reproduction and circulation of meaning within, as well as outside, the group, the discourse developed by communal communication media is an ideological, reflexive construction whose aim it is to create an impact on the social cognition of its receivers. This is why ethnicocultural groups scattered around the world generally have effective communal media that reinforce their social, cultural and political cohesion at local, national and global levels. Because, as well as expressing their positions and views on the issues facing a nation's society, this formal discourse provides group members with a legitimate and coherent framework for action and argument. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Imagining the Moor in Medieval PortugalJosiah Blackmore (bio)For medieval Portugal, Africa was familiar and strange, a known place across the modest parcel of the Mediterranean between the Algarve and Ceuta, and, farther south, an unknown expanse of land that glimmered black under the equatorial sun. And for Portugal, like for Spain, Africa was part of the demographics and history of Iberian culture in the figure of the Moor, at (...) once an “other” and a closer, more intimate presence. Jeffrey J. Cohen reminds us of the “cultural work” of the Saracen (one of the medieval terminological possibilities for “Moor”), “whose dark skin and diabolical physiognomy were the western Middle Ages’ most familiar, most exorbitant embodiment of racial alterity” [189]. Cohen argues, therefore, that the Saracen (grosso modo) existed in a network of literary and ideological productions of western Europe; in the case of Iberia, the Moor was sometimes but not always a Saracen and was both a figure of alterity and of familiarity and sameness, less an aprioristic other and more of a figure that could be variously othered as a marker of boundaries including “race,” spirituality, and sexuality. While this essay does not take on the idea of racial alterity per se, it does assume the notion that in the literary culture of Portugal blackness, in some manner, informed constructions of the Moor. My purpose here is to delineate an understanding of the Moor in medieval Portugal as a construct that resists easy categorizations as an undifferentiated figure of otherness, a consideration that culminates with the work of Gomes Eanes de Zurara (1410?–1474?), the first chronicler of Portuguese exploration into (west) Africa. To this end, I will briefly consider the Moor in representative examples from the livros de linhagens (genealogical books) and the cantigas d’escarnho e de mal dizer (poetry of mockery and insult, hereafter abbreviated CEM), not so much in order to trace a direct influence between these texts and the work of Zurara but to provide an idea of how the Moor was variously fashioned in earlier texts. The analysis here is not exhaustive nor conclusive but suggestive, and is meant to indicate how the Moor—and the idea of the Moor—in Portugal can add to critical conversations on the imaginative and ideological constructions of the Moor and of Africa and its inhabitants.The formulations of national and cultural identities in European texts of the Middle Ages and Renaissance1 that in some way engage Africa and the African have increasingly [End Page 27] and understandably become an object of interest among literary and cultural theorists. One of the advances in recent years of this critical work is the freeing of the Moor from the strictures of the “self/other” binary that permeated earlier scholarly work on Europeans and their others, especially in the field of imperial/colonial studies or in the study of the conflictive representations of Moors and Europeans in genres such as medieval epic.2 In the medieval field, Cohen’s work on the Saracen is one good example of this more theoretically suggestive approach, since Cohen explores the work of representation as it dovetails with the universalizing claims of psychoanalysis. Suzanne Conklin Akbari’s essay usefully reminds us that the medieval world considered itself as existing in three parts, thus making problematic modern applications of binaries as supposedly informing a medieval perception of “Asian Orient and European Occident” [20]. Other studies, though concerned with postmedieval literatures and histories, also explore the cultural work of the Moor. Such, for instance, is the case with Emily C. Bartels’s articles on the Moor in Shakespeare. Bartels charts the flexibilities and inconsistencies of the term “Moor” in Renaissance England [“Making More” 434], noting especially its “racial” claims. In analyzing the place of postcolonialism as it might inform critical work on Africa in the Renaissance, Bartels questions the model that postcolonial studies assumes as underlying its own practice by arguing that “[postcolonial critiques] continue … to recreate the history of silenced voices through only one model of cultural exchange: one in which European domination is both the motivating force and the inevitable outcome” [“Othello and Africa” 46].These representative studies of the Moor tag... (shrink)

In the author's article Volodymyr Hurzhy "The current state of the project "Russkyi mir" and the consequences of its implementation in Ukraine" interprets the project "Russian measure" as a new form of the Russian national idea, which always had a relational-mythological core and was associated with ideas about choices Russian people. From the ideological point of view, the doctrine of the "Russkyi mir" is an option of a religiously motivated ideology appealing to the Orthodox values, specifically meaningful Russian history, (...) the Russian language as a marker of the territories to which the project is directed. These parameters make it possible to identify the "Russkyi mir" doctrine as one of the options for post-secular global religious-political projects. The vast majority of Soviet rituals and practices were "absorbed" by the "Russkyi mir" and continue to be preserved and function in modern Russia in the 21st century in a re-imagined form. But now, with the loss of sacrality of the first of the key Soviet holidays - the Day of the October Revolution - the function of "the beginning of a new world" took over the holiday of the Victory Day. This function is enshrined in the collective memory of the people through the annual military parades, the historical reconstruction of the key battles of the Second World War, the spread and consolidation in the public consciousness of the thought of determining the role of the Russian people in gaining victory over Hitler's Germany as an absolute evil. Constantly reproducing an existentially marginal situation, the state affects the key need of its citizens in the sense of global security. These representations in total show new technologies for the deployment of conflict situations, based on global competition in the plane of values. (shrink)

The focus of this article is the global and European experience of the reception, assimilation, and social application of the Bible, reproduced in the works of a number of prominent Kyiv Theological Academy (KTA) representatives from the second half of the 19th and early 20th centuries. The analysis specifically covers the works of professors Stefan Solskyi, Kharysym Orda, Nikolai Drozdov, Afanasii Bulgakov, Mykola Makkaveiskyi, Vasylii Pevnytskyi, Arsenii Tsarevskyi, Volodymyr Rybinskyi, Dmytro Bohdashevskyi, and Aleksandr Glagolev. The author uses the metaphor of (...) the Biblical world to describe the historically developed spiritual and cultural component of the European world, for which the Bible played the role of a normative and symbolic core. Affiliation with the Biblical world — as a way of broad social application of the Bible and assimilation of the norms and public behaviors sanctioned by this text — was and still is a stable symbolic marker as well as a cultural and ideological factor of integration with European civilization. The historical panorama of the reception of Biblical knowledge and the inculturation of Biblical morality by Christianized nations, reproduced in the writings of Kyiv academics, is presented as a field of centuries-old intercultural contacts and active inter-confessional interaction, and as an important ideological and moral factor of the socio-political integration and development of civil society. The issues addressed by Biblical studies in Europe and the rest of the world and considerations and solutions prompted by these issues proved to be fruitful for both the academic research and public practices in which academics of the Kyiv Theological Academy were engaged. The past and modern foreign experience related to the inculturation of the Bible was interpreted by the Kyiv researchers in the local context, more specifically, in the modernization attempts of the 19th and early 20th centuries. Therefore, the reflection of European and worldwide experience, though not fully implemented, was productive and was a potential factor that could have contributed to the European modernization of Kyiv cultural and religious life of the time and its integration into the global Biblical World. (shrink)

This study brings together socio-theoretical and ethnographic approaches to psychiatry, demonstrating the role of the clinic as a major consolidator of ideologies as well as the site where personal miseries are registered as markers of social failure. It focuses on innovation in psychiatric taxonomies, changes in the figurative language of the emotions, changes in conceptualizations of the self and how all of these relate to changing socio-economic events and circumstances.

Sociocultural changes associated with the development of information and digital technologies lead to structural shifts in society – a new format of heterogeneity of structural elements and the system of social relations between these elements is created. As a result, in the conditions of the modern information society, new class-forming stratification criteria of inequality arise, which relate to the presence/absence of digital resources and access to them. The existing level of digital capital of the agent of the social system will (...) be important in this sense. The influence of digitization and ICT technologies leads to the fact that “in the information society, classes are replaced by socially undifferentiated “information communities” (E.Masuda). “Small” economic forms are replacing traditional bulky corporations: individual activity at home, “electronic college” (O.Toffler), changes in traditional printing with “electronic books”, changes in ideology, transformation of unemployment into secured leisure (H.Evans)”. The purpose of the article is to develop the conceptual basis for the study of digital inequality in the conditions of a digitalized society. The methodological basis of the article is the structural-constructivist paradigm, the concepts of the information and network society of E.Masud, M. Castells, and O.Tofler, theoretical aspects of the scientific works of Z.Bauman, J.C.Ramo, M.Rogers. In the preparation of the scientific work, general scientific methods of cognition - analysis and synthesis, comparative studies, generalization and directly sociological method - secondary data analysis were used. This scientific work is dedicated to the study of the impact of digitalization on the processes of structuring Ukrainian society and the sociological conceptualization of a new mode of the stratification system - digital inequality. The article characterizes the main features of the information society, formulates markers of digital inequality, offers a conceptualization of the concepts of digital poverty and digital capital. The article has theoretical significance for the further development of empirical markers of fixing digital inequality in the study of structural dimensions of modern society. (shrink)

In what follows, we intervene in the long history of the study of curiosity to propose curiosity studies proper. Such a field, we argue, traverses the many disciplinary and experiential contexts in which curiosity appears, in order to generate theories, analytics, and practices of curiosity that are as complex and ubiquitous as the phenomenon of curiosity itself. Assuming an ecology of knowledge framework, which expressly resists academic silos and intellectual monocultures, we envision curiosity studies as an unbounded inquiry built on (...) three simple principles: (1) Curiosity is multiple; its markers shift across history, geography, species, social identities, institutions, contexts, and circumstances; therefore it requires immensely flexible analytic attention; (2) Curiosity is praxiological; far from something that is simply felt, curiosity is something that is done, expressed in behaviors, habits, architectures, and movements across physical, conceptual, and social space; and (3) Curiosity is political; its manifestations within sociocultural worlds are marked by inherited hierarchies of value among scientific methodologies, people groups, and ideologies. And yet, precisely because it is multiple, praxiological, and political, curiosity bears a keen subversive potential. It has the capacity to upend what we know, how we learn, how we relate, and what we can change. Curiosity has the capacity to become radical, to get at the root of things. We therefore propose curiosity studies not only as a field of scholarship but as a way of reimagining the world, both within the classroom and far beyond it. (shrink)

The subject of the research is the concept of "Russian idea" from the point of view of its transformation in the conditions of the modern postmodern paradigm. The characteristic markers forming the modern cultural-historical and philosophical paradigm are revealed – the specifics of their influence on the concept of "Russian idea" are analyzed. An example of the modern representation of the "neo-Eurasian" version of the concept as interpreted by A. G. Dugin demonstrates how in a postmodern situation, even ideas (...) that are in discursive opposition to postmodern principles inevitably turn out to be embedded in the modern paradigm. Russian postmodern situation determines the specific forms of existence of the concept of "Russian idea", which, in turn, are representative for the analysis of phenomena, processes and transformations of modern Russian culture and the study of its dynamics. The novelty of the research lies in the analysis of the "Russian idea" as a concept with an unchanging semantic core, fixed through the presence of cross–cutting terms, as well as in identifying the characteristic types of modern forms of existence of the concept - Messianic, conservative-protective, nationalist, neo-Eurasian, political-ideological, liberal and others. The article analyzes and identifies the patterns of the constitution of the concept "Russian idea" in the conditions of the postmodernist paradigm, examines the specific markers characterizing the concept in the postmodern situation. The "Russian idea", on the one hand, is opposed to postmodernism as an axiological antinomy, on the other hand, modern markers of the concept are revealed, making it part of the postmodern system. (shrink)

Arma uirumque cano… ‘Je chante les armes et l'homme …’ ainsi commence l’Énéide, ainsi devrait commencer toute poésie.It is far from an overstatement to make the claim that in the surviving corpus of Latin poetry no phrase is more immediately identifiable than the pronouncement of the Virgilian narrator on the ‘arms and the man’ of his subject matter. The presence ofarma uirumquein a particular formation cannot fail to put us in mind of theAeneidand its concomitant ideological associations. A consequence (...) of the epic's centrality as a canonical text was the emergence in antiquity ofarma uirumqueas a synecdochic quotation for the work as a whole and, as such, for the figure of the poet himself. This transformation was further actuated by the ancient practice of ascribing titular authority to a poem's incipit, ensuring that arms and the man took on especial resonance. Even within theAeneid, self-referential intratextual play with the Virgilian utterance can be detected. Furthermore, in post-Augustan verse, Fowler argues thatarmaalone is always loaded in a metaliterary fashion, serving as an identifying marker for Virgil's epic or, more broadly, for epic in general. This was so marked a phenomenon that the opening word of the poem was recycled and reworked by Ovid around a decade after the compositional beginnings of theAeneid, in the first book of theAmores, in what formed an announcement of the redeployment of epicarmainto the elegiac world ofmilitia amoris(Am. 1.1–2). (shrink)

Purpose. The main purpose of this paper is to consider the methodological peculiarities in the formation and interpretation of war and peace, in the context of the spiritual rethinking by humanity and the nature of social phenomena, among which a special place is occupied by the political and legal phenomena of the modern world. This involves solving the following tasks: firstly, to reveal the meaning of modern approaches in understanding the features of religious fundamentalism, and, secondly, to reconstruct the dynamics (...) of transformations in representations of war and peace, in the context of the spiritual practices of the present. Theoretical basis. The author's analysis is based on the systematic reconstruction of modern theoretical models of understanding religious fundamentalism and its connection with the subject of modern anthropological research. The resulted fact that the taxonomy of different types of religious fundamentalism includes more political, legal and economic markers does not provide an answer to the question of what the qualitative influence of the fundamentalist ideas is on the spiritual component of a person's life. Appealing to the problem of religious fundamentalism, in the context of rethinking the phenomena of war and peace, is associated with the actualization of these phenomena in the communicational, media and ideological spheres. That is why, in the context of this analysis, we take into account the main modern approaches in the provisions of religious traditions. These articulate the problems of threat to the global world in the context of actualization and return of the religious factor into the everyday life of a person, including through politics. Originality. The author proves that when analyzing the religious aspect in the reinterpretation of ideas about war and peace, it is necessary to consider, as a doctrinal component, certain types of religious belief doctrines, as well as the individual psychological peculiarities of man. These peculiarities, which are manifested in different types of beliefs, can be verified by the clues in the analysis of religious practices, which represent the meaningful components of the religious doctrine. Conclusions. The reasons for forming ideas about war and peace in theistic religions are a number of provisions related to the nature of the world and of man. They are the result of the manifestation of the act of the Supernatural Essence. In the tradition of rethinking the vocation of man in the context of fundamentalist discourse, these ideas acquire the status of spiritually determined and politically achievable goals. These are conceived in connection with the establishment of the Divine Plan, and they overcome the gap between the material world and the ideal world order. (shrink)

This study brings together socio-theoretical and ethnographic approaches to psychiatry, demonstrating the role of the clinic as a major consolidator of ideologies as well as the site where personal miseries are registered as markers of social failure. It focuses on innovation in psychiatric taxonomies, changes in the figurative language of the emotions, changes in conceptualizations of the self and how all of these relate to changing socio-economic events and circumstances.

continent. 1.4 (2011): 253—278. A Sense of French Politics Politics itself is not the exercise of power or struggle for power. Politics is first of all the configuration of a space as political, the framing of a specific sphere of experience, the setting of objects posed as "common" and of subjects to whom the capacity is recognized to designate these objects and discuss about them.(1) On April 14, 2011, France implemented its controversial ban of the niqab and burqa , commonly (...) referred to as the Islamic veil, in public places. On the coattails of the 2004 prohibition of religious artifacts, including the less concealing hijab or Islamic headscarves, in schools, the veil ban sparked equal outrage across both political and theological spectra, and many on both sides of the debate were quick to inquire about enforcement. As Steven Erlanger reports, “The police do not have the authority under the law to remove full veils, only to fine or require citizenship lessons for those who violate the new law.”(2) While the legal and social implications of this interdiction are ripe for study, the reprisals for breaking the law, notably compulsory citizenship classes, illuminate the strategic governmentality underlying the French government's targeting of the Muslim community, particularly those elements it considers affiliated with fundamentalist factions and/or terrorist organizations, if only through fashion—an integral component of French citizenship. Indeed, in allowing the (fashion) police to mandate instructional courses in citizenship for offenders, France implies that any Muslim choosing to wear the niqab or burqa , perhaps even for those who are already citizens, must not be aware of the subtle nuances of dress indicative of the French citizenry within public space. Furthermore, the degree of instruction requisite to citizenship, which clearly can and must be updated as the state sees fit, cements the imagined relation between citizens and states within the discourses on the veil ban. As Sharma contends, “Concepts of citizenship are the ideological glue that bonds the nation to the state. Citizenship provides the legal framework through which the state performs its role as ruler for the nation.”(3) Speaking for/as the state, French President Nicolas Sarkozy declared in a 2009 presentation before members of the government and other citizens that the burqa “is not welcome on the territory of France.”(4) Although there is nothing unique, especially recently, about a nation-state taking extreme measures to guard itself against what it deems to be threats to its sovereignty, the way in which the ongoing discourses on hijab have (d)evolved, which coincide with recent pronouncements by governmental leaders in Germany, Britain, and France that policies of multiculturalism have “failed,”(5) points toward nationalist reterritorializations, which is also to say physical and ideological re-appropriations, of public space within democratic milieux, which remain predicated upon the mediation of spaces. As Panagia deduces from Rancière, “Democracy […] is not an institutional form of government […], but an appearance whose visibilities and audibilites arise out of the dissonant blur of the everyday.”(6) Ultimately, the veil ban represents a calculated move to regulate the every day, which is to say the micropolitics of, that which is visible and invisible within French society, which makes it nothing short of a struggle to manage (the sensation of) bodies. Re-situating the political within the context of sense, Rancière argues that the fundamental essence of politics lies within the distinction between consensus and dissensus , and whereas most consider politics proper as fundamentally concerned with the fluid operations of the state— consensus , Rancière actually locates the political within events that disrupt the normative sensory order of things— dissensus . He explains, “Politics revolves around what is seen and what can be said about it, around who has the ability to see and the talent to speak, around the properties of spaces and the possibilities of time.”(7) This reformulation of politics centers on agency and, albeit perhaps unintended, representationality and offers a useful formulation for spatializing the discourses surrounding the Islamic veil, which are mired within seemingly senseless policies and practices of objectification. Instituting a normative “regime of visibility,” the French veil ban encapsulates the political economy of agency, now both mediated and representational, under the rule of nationalist governmentalities in increasingly transnational contexts.(8) Adjudicating presence within public space signals a concern with the sensory aspects of agency itself—what Rancière terms the “distribution of the sensible,” which is “a matrix that defines a set of relations between sense and sense: that is, between a form of sensory experience and an interpretation which makes sense of it.”(9) To be concerned with sense is to focus upon the body, and this somatic repositioning of the (fashionable) citizen within the territory of the state augurs the resurgence of nationalist bio-politics within Europe, since, as Hage explicates, “Nationalism, before being an explicit practice or a mode of classification, is a state of the body. It is a way of imagining one's position within the nation and what one can aspire to as a national.”(10) The French government's attempt to make (bodily) sense of public space for its citizens by and through policies aimed against a burqa-clad Muslim minority, which might only apply to “less then 400 to fewer than 2,000” women(11), reveals the necessary, yet mercurial, transmutation of public space into national space through bio-political strategies of sense-making, which, as Hage observes, denotes that “nationalists perceive themselves as spatial managers.”(12) At the center of this concern over public space is the equally contentious dimension of governing female Islamic identity, which has become one of the main critiques levied against Islam from outsiders who view the veil in its various forms as a clear sign of the religion's actual and symbolic violence against women, even if such critiques remain ensconced within nationalist discourses. As Halim and Meyers argue, “Although Western news media may focus their coverage of Muslim women on the debate over whether and the extent to which the veil may by oppressive to the women who wear it, they have exhibited little interest in the physical oppression of violence against women in Islamic countries.”(13) While it falls outside of the scope of this analysis to arbitrate all of the dimensions of this debate, understanding some of the issues related to female identity and hijab within public space are crucial to this study. As these topics are extraordinarily complex, even and perhaps especially within the Muslim community, it is necessary to provide some context concerning the value, purpose, and meaning of the Islamic veil, which has a rich and arduous history. The Art of the Veil At present, there are only two countries, Iran and Saudi Arabia, that require women to wear hijab , which is a decidedly problematic term and concept whose locus is itself caught within a struggle of sensation. Noting the strategic reterritorialization of the term, Berger explains: The choice of the name, hijab , now widely adopted to designate the “Islamic veil,” it itself interesting, although the semantic shift it operates is not directly commented upon by its users. Although the design (both the cut and the symbolic function) of the hijab and the Iranian chador are indeed the same, as opposed, for instance, to the traditional Algerian haik , the word hijab has come to replace the term chador popularized by the Iranian revolution, as a properly Arabic (hence Koranic) designation. This discursive shift points to the successful reclaiming of the national revolution in Iran by a transnational pan-Islamic movement, whose language of reference can only be Koranic Arabic.(14) While the hijab is certainly a point of contention within various countries dealing with immigrant Islamic populations (of which France has the largest in Europe as part of its colonial legacy in Algeria), it is clear that the veil is a historically contextualized artifact of Muslim identity with a variety of manifestations, even as forces outside of and within Islam seek to codify its actual and symbolic value. Ultimately, the varieties of hijab , including the full-faced burqa and niqab , are complex assemblages of meaning that speak to the multitudinous flows of Islamic identities over time and space. As Gökariksel and McLarney observe, “Wearing a certain style of veil may simultaneously be a disciplinary practice crucial to the cultivation of piety (Mahmood 2005; Gokariksel 2009) and a gendered performance of social distinction in terms of class, taste, and urbanity (White 1999; Navaro-Yashin 2002; Gokariksel and Secor 2009) or of ethnicity and race (Dwyer 1999).”(15) The ideological marketplace from which the varieties of hijab ebb and flow serves both as a reflection of the ever-present materiality and dynamic functionality of spiritual economies, which are derivative of the equally ubiquitous flows of transnational capital driving agency and representationality within our historical moment. Keeping these dual, yet deeply interconnected, capital ecologies as the site of exploration for how the veil is represented within public space, one might begin to sense what lurks behind such veiled agendas. Examining the symbolic and representational nature of the Islamic “veil” in its various forms, this project situates the decidedly political contestations of public space at stake in the French ban alongside recent condemnations of multiculturalism as calculated efforts to re-distribute the sensible so as to valorize national identity within increasingly transnational and globalized socio-economic spaces, which collapse exchange values between distinct, yet interwoven, economies of (cultural/material/spiritual) capital. As the discourses on the veil rely upon representational imag(in)ings, it seems fitting to explore the political economy and art of the veil through the phenomenon of street art, which, much like hijab , is a complex assemblage of meaning of sensation mired in representationality and capital exchange. As street artists have taken up hijab in various forms, the movement offers a lens with which to situate critical responses to the veil debate across both spiritual and material economies. Situating this street art both aesthetically and historically, Lewisohn explains, “'Street art' is a sub-genre of graffiti writing and owes much to its predecessor. Though there is a good deal of crossover between the genres, they are distinct and separate in their own right.”(16) Evolving out of the graffiti explosion of the late 1970's and 1980's, street art broke the unspoken rules of the artistic underground by challenging and re-examining one's sensory experience of art in public space by experimenting with both content and form in ways that harken back to the Situationist International, which as a collective challenged one's experience of urban space through various media and experiential phenomena. Again, Lewisohn observes, “It's important to note street art's break with the tradition of the tag, and its focus on visual symbols that embrace a much wider range of media than graffiti writers would use.”(17) From stencils to prints and murals to one-liners, street artists developed a reputation for critical social and political commentary, and while it is certainly the case that not all street art is intentionally political, in challenging the normative “regime of visibility,” as Rancière puts it, of public space, street artists—even if unconsciously—call into question the common sensory experience of the politics underlying the formation of (nationalist) space.(18) Indeed, Rancière refers to the partisan sensory managers as “police,” who ultimately forge “the rules governing the circulation of appearances, of their visibility and audibility, and the proper distribution of bodies therein.”(19) As such, one can sense that street art's relationship with the police is tenous for a variety of reasons. Writing about his own experience as a street artist, Shepard Fairey observes, “With street art, there's no committee deciding whether I can put my work up on the street, there's no censorship, and I have total freedom of expression, and that concept of freedom is expressed just by using the street as a medium.”(20) As Fairey and other street artists demonstrate, the medium, to paraphrase Marshall McLuhan, is the most glaring aspect of street art's message, and even as it now finds itself in galleries and usurped by private collectors, the ethos of the movement remains relavent to politics as it is, first and foremost, concerned with the configuration and experience of space. Just as examining the punishments for breaking the veil ban can map the terrain of French politics, a representational genealogy of street artist's deployment of hijab and female Muslim identity can assist in mining the depths of public space as a site of bio-political control and contestation in light of recent events in France and the rising tide of anti-multiculturalist rhetoric across Europe, even though the Islamic presence there is radically heterogenous. Using the work of Shepard Fairey, Princess Hijab, br1, and Banksy, this paper sets out to answer a number of key questions concerning the deployment of hijab, and female Islamic identity in particular, within street art as a movement now integral to and critical of the economies of exchange underlying global capitalism, which as a force of influence cannot be underestimated as a driver in the resurgence of nationalist biopolitical governmentalities. Although there exists a litany of artists to choose from, the aforementioned quartet of designers integrate hijab into their work in a seminal and critical fashion, and all have been working with the veil in some way prior to the French ban, which grants some additional context to their usage of it as a symbol in regards to the breakdown of multiculturalism across Europe, even if unconsciously. Although each artist depicts various amalgamations of hijab in their respective corpus, they share common tropes that raise significant questions concerning the veil debate, namely: what are the conditions of possibility for hijab to become a marker of Islamic identity within public space? How can we make sense of the representational topologies within street art's utilization of the hijab and female Islamic identity in light of the French ban? How might these aesthetic imag(in)ings simultaneously inhabit and combat normative discourses concerning hijab , multiculturalism, female Islamic identity, and public space? With these considerations as a backdrop, it is first necessary to outline more fully the hijab as a representative marker of female Islamic identity. The (Veiled) Writing on the Wall

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The origins of Ukrainian spiritual-national identity and the formation of the Ukrainian idea - the "Ukrainian ideological self-concept" - as its team of researchers led by Professor Volodymyr Serhiychuk calls it - are closely interconnected with the origin of Ukrainians and their development of their living space, which is characteristic in Ukrainian history. numerous ethno-spiritual markers, starting with language and church, as expressors and creators of spirituality, and ending with the state, which help to understand the fundamental foundations (...) of the formation of Ukrainian eth okultury and ethnic psychology as Ukrainian national identity, as emphasized by these authors, is formed directly on the basis of Ukrainian character type. (shrink)

The three ways to start thinking of modern ideology of the integrity of the scientific thinking of the life of the world's thinking, the nature of human thought. Theory for its own requirements, think of the first two forms of the rejection of metaphysics in the door to understanding other than for the occasional appearance of metaphysics. Productive nature of human depth of metaphysical thinking, recognized its relative historical inevitability. Marx, Nietzsche, Heidegger reveals more of their origin relationships: man and (...) his living strength, will, thought relations. Authors think is an absolute metaphysical necessity. Modern thinking themselves to be reading for the historical marker. Should be based on the contemporary metaphysics itself as an intermediary to the reality of our own. There shall be: first, to break the so-called "historical continuity", that metaphysics is the history of the formation of technical thinking; two, revealing the "nothingness of the cry," the hidden "presence of the final there," which is preserved in the history of metaphysics "sacred." Modern thought has developed into what it is today from three sides, a consideration of science, of the living world and of man's essence. The first two systems of thought demand that the theory of a body be considered outside a metaphysical realm. The essence of man can be considered from a relative necessity of history. Marx, Nietzsche, and Heidegger have proceeded form an even more basic stance, considering the relationship between man and his will to power, volition and thought. I consider in this paper the absolute necessity of a metaphysics. Modern thought must resolve this historical representation. It must go the way of metaphysics in realizing this task. Here we must: 1) Breakthrough the notion of the so-called 'linear history'. Metaphysics must complete a history of technological thought . 2) Reveal existence's ultimate being hidden in the 'cry of nothingness'. This is a metaphysical 'holiness' hidden in history. (shrink)

Given the rise of populist parties in Germany and the charge that multiculturalism is dead, the present research examines how everyday Germans formulate an account of cultural diversity and multiculturalism. We employ a critical discursive psychological analysis and focus particularly on the arguments used to criticize cultural diversity and multiculturalism. Asynchronous online interviews were conducted with eighteen native-born German citizens. The data analysis shows that participants criticized cultural diversity and multiculturalism by deploying ‘Leitkultur-style’ nationalistic discourses and normalizing the hierarchical relations (...) between immigrants and Germans. Participants also questioned multiculturalism as an ideology and everyday practice and moved back and forth between diverging accounts. These discourses reinforce dominant ideologies that place immigrants’ responsibility to assimilate and adopt German cultural norms and values. Our findings suggest that there are critical, flexible, and contradictory social markers of multiculturalism that have significant ramifications for policy and to everyday people who face the real task of living with cultural diversity. (shrink)

Donald Davidson finds folk-psychological explanations anomalous due to the open-ended and constitutive conception of rationality which they employ, and yet monist because they invoke an ontology of only physical events. An eliminative materialist who thinks that the beliefs and desires of folk-psychology are mere pre-scientific fictions cannot accept these claims, but he could accept anomalous monism construed as an analysis, merely, of the ideological and ontological presumptions of folk-psychology. Of course, eliminative materialism is itself only a guess, a marker (...) for material explanations we do not have, but it is made plausible by, inter alia, whatever difficulties we have in interpreting intentional folk-explanations realistically. And surely anomalous monism does require further explanation if it is to be accepted realistically and not dismissed as an analysis of a folk-idiom which is to be construed instrumentally at best. Some further explanation is needed of how beliefs, desires, etc. can form rational patterns which have ‘no echo in physical theory’ and yet those beliefs, desires etc. be physical events. To this end I propose to graft on to anomalous monism a modest version of functionalism. (shrink)

The trend to centralization of the Mizrahi narrative has become an integral part of the nationalistic, ethnic, religious, and ideological-political dimensions of the emerging, complex Israeli identity. This trend includes several forms of opposition: strong opposition to "melting pot" policies and their ideological leaders; opposition to the view that ethnicity is a dimension of the tension and schisms that threaten Israeli society; and, direct repulsion of attempts to silence and to dismiss Mizrahim and so marginalize them hegemonically. The (...) Mizrahi Democratic Rainbow [The Keshet], the most prominent proponent and representative of this trend, was established in the 1990s with the intention of being a leading civic and political body in Israeli society. While it was the Mizrahi worldview that led to selection of the organization's name and aims, their vision was to be involved in social struggle on behalf of other groups in Israeli society. Since it was established, The Keshet has aimed to function as an assertive, long-term alternative coalition exerting influence, power, and pressure on the Israeli narrative network. And, indeed, the organization has succeeded in disrupting Israeli discourse, principally, by challenging the ideological foundations of the Zionist meta-narrative. Nearing the end of the first decade of the 21st century and nearly a decade since it was established, The Keshet not only represents the most current wave of Mizrahi discourse, it has changed it to such a great degree that it is impossible to ignore its influence. Further, this alternative narrative may have significant potential to advance the internal Jewish discourse so fundamental at this time given the changing Israeli situation and regional conditions. And, while it is possible to view The Keshet and this new narrative as a continuation of the Mizrahi struggle, as a narrative The Keshet's agenda represents a post-colonial perspective and multi-cultural alternative to Zionism as a social vehicle. Amidst all of this, The Keshet continues to offer concrete proposals to change the Jewish character of the state as well as its internal and external relations. One of the primary goals of this study was to examine the rise of the Mizrahi narrative over the last two decades and the new Mizrahi discourse in Israeli society. More specifically, the study sought to attain an in-depth understanding of the central narrative created and represented by The Keshet. An additional goal was to investigate the influence of The Keshet's activity and the narrative it constructed in regard to other narratives. In particular, the study focused on The Keshet's opposition to the central Zionist narrative that infuses civic, political, and academic frameworks in Israel. Accordingly, the primary research questions investigated in the study sought to determine: What has been the influence of the Mizrahi Democratic Rainbow on the Mizrahi narrative in Israel? And, what are implications of such influence for the central Zionist narrative? Methodologically, the study was based on narrative and comparative analyses of texts from different periods of the older and newer Mizrahi narratives. The corpus included two types of texts: First, academic texts and opinion pieces, both philosophical and programmatic in nature, published in magazines, journals, books, as well as position papers; second, all of the texts published by prominent and influential figures who charted the path of The Keshet or led it organizationally and/or intellectually over the last twenty years (e. g., Yehudah Shenhav, Yossi Yona, Moshe Krief among others). All texts were examined by means of philosophical, historical and critical hermeneutic tools. This analysis revealed different levels of Mizrahi and civic discourse in Israel as well as among The Keshet's founders and leading ideologues. The study was based on a three stage process model, developed for purposes of this study, for investigation and analysis of the new Mizrahi narrative as well as other oppositional narratives, in particular opposition to the hegemonic meta-narrative. The stages are: issuing the challenge, dissolution and, liberation; that is, liberation is the measure of the ultimate success of the struggle for narrative change. Such change is not based on success in the field, but rather on a radical, fundamental reversal of thought, discourse patterns, stylistic structures, as well as forms of questioning - in this case of taken-for-granted racist mechanisms. However, the principal change is in achieving a deep, inner de-legitimization of the signifiers, categories, and reproductions of all manner of mockery that are based on immoral colonialist processes that are reinforced by regimes of fear and intimidation whose self-destruction began upon their very creation. This three stage model charts the course of the oppositional Mizrahi narrative from: accounting for the past (passing judgment on the so-called historic colonialist Zionism) to writing a new (pure Mizrahi) history and creation of a Mizrahi-Arab identity separate from the Ashkenazic, identified as Zionist. Contemporary post-colonialist discourse is integral in these stages. Such a perspective has been transformed by transitions from - binarism to hybridity, Orientalism to Occidentalism, the politics of "liberation" to "constructive" politics, from the history of consciousness to the history of change, as well as from nationalist to post-nationalist questions. Fundamentally, according to this approach, political and other struggles for the emerging narrative of Mizrahi (or Arab) history seek to centralize it in society and weave it amidst the models of multiculturalism. Undertaken in parallel, the central characteristics of all these stages are borrowed from countries in which the need for national reconciliation led to renunciation of apartheid and racist policies and historical judgment of the hegemony supported by racist leaders. In addition, these three moves were undertaken in Keshet and its ideologues by means of substantive symbolic violence directed at the hegemonic Ashkenazic discourse, which included creation of hatred of it, use of stereotypes the opposite of oppressive discourse, and adoption of an arrogant point of view toward it. This stands in stark contrast to the claims of the self-proclaimed new Mizrahi stance of a discourse established on purely ethical grounds that sought to cleanse itself of these very same oppressive elements. The model developed for and demonstrated in this study allows for analysis of oppositional narratives in which the libratory stage evolves into a form of entrapment, as appears to be occurring to the new Mizrahi discourse. This conclusion is based on the observations shared by many Keshet proponents including leading intellectuals who worked on the manifestos that were the subject of criticism from the Zionist camp. The study identified and defined the following six interwoven strata, which for purposes of explication are each discussed in a separate chapter: The first chapter presents a general theoretical discussion of the issue of the narrative and the inter-narrative struggle that has become central and applicable in various ways in the latest generation (e. g., anthropologically, hermeneutically, and philosophically). The analysis surveys different discussions in the inter-narrative struggle and locates them in the contexts, relations, and meanings derived from, representing, and indeed reproducing the narrative of national identity. The second chapter includes a historical survey of the older Mizrahi struggle that existed prior to the ascendance of the new Mizrahi narrative. Initially, Mizrahi discourse focused on expressing the ethnic protest that grew in years to follow. These feelings of discrimination and social distancing of the immigrants from Islamic countries gave birth to expressions of protest, the most prominent of which were Wadi Salib and the Black Panther Movement's various activities. The research literature contains many explanations for the exacerbation of the ethnic problem and creation of a situation that could not be ignored. The consensus academic view reached at the end of the 1970s identified a number of primary factors for this situation: the existence and extensive numbers of different ethnic groups; the relative or absolute segregation of frameworks within which members of these ethnic groups lived and acted; and the significant overlap between socio-economic status and feelings of discrimination retained by members of the Mizrahi group due years of neglect by the Ashkenazic establishment, the strengthening of Mizrahi social, cultural, and political power, as well as the emergence of a Mizrahi elite that identified with Mizrahi problems. The severe consequences of feelings of discrimination were expressed in a long series of events, such as: rioting by residents of the Rehovot Sharayim neighborhood in 1956; events of Wadi Salib in Haifa in 1959; and a chain of activities involving the Black Panthers in the 1970s. Protest was also an aspect of the "tent movement" in the 1970s and 1980s. Political activities were advanced by the Tami Movement that competed in the election for the 10th Knesset in 1981 and the Shas Movement that has continued to garner political power since being found in 1984. The 1980s and 1990s were characterized as the era of radical consciousness of Mizrahi discourse as well as by the rise to power, in consecutive order, of the political parties – Tami, Shas, and the Mizrahim HaHadashim [the New Mizrahi]. The latter party laid the foundations of the new radical Mizrahi discourse from which emerged such cultural activities as: Iton Aher [A Different Newspaper]; Bimat Kivon Aher [Another Direction Forum]; Efir'yon journal; the Halah Organization for Education in Neighborhoods, Development Towns, and Villages; Kedma; the newspaper – Patish [Hammer]; and, eventually the establishment of Keshet. The third chapter presents an examination of the materialization of the inter-narrative struggle in the case of Israel, with a specific focus on The Keshet and the new Mizrahi narrative advanced by it and intellectuals. The Keshet ideology is examined in the context of its grounding in post-colonial thought, especially that of Edward Said; the directions proposed by Ella Shohat and her followers; the central thinkers of the narrative in Israel in the last decade; and the harsh critique leveled at the Ashkenazic-Zionist narrative. The practical steps proposed for implementation within the multicultural model are also examined. Here the effort to reduce the centrality of Zionism while revealing its oppressive mechanisms was undertaken in parallel with use of these mechanisms in order to create a Mizrahi space with broad margins inclusive of alternative forms of Israeli identity in the Middle East and in conjunction with Arabs within and beyond Israel. Mizrahi traditionalism is examined in the fourth chapter in two particular respects. First, the criticism of the new Mizrahi narrative leveled by the renewed view and, second, the implications of the alternative in terms of creating a Mizrahi space that does not oppose Zionism. Rather, in opposing the post-colonialist perspective, this renewed traditionalist perspective criticizes as well as values Zionism. This space seeks to be both Jewish and Mizrahi. It does not detach itself from nationalist Zionism but rather views itself as a continuation of this tradition and, accordingly, is an effort to develop a next stage in its development. For example, an essential dimension of the traditionalist perspective, "commitment," is considered in this stage to be a fertile basis for dialogue with the past and as an anchor for contemporary interpretation of Mizrahi and other Jews' identities in Israel. The fifth and sixth chapters deal with all of the vectors of criticism directed at the new Mizrahi narrative, including its ideological foundations, philosophical stance, as well as intellectual and practical basis in the Israeli sphere in the face of Palestinian nationalism. These vectors of criticism from within and beyond The Keshet deal with issues, such as, the meaning of the movement's activities and the narrative that it offers regarding questions of Israeli identity, Israeli collective memory, and Mizrahi self-perception. At the same time, it must confront the capitalist neo-liberal narrative in a global world and thrive in a context in which it must make itself manifest amidst oppositional narratives. The final chapter presents a comprehensive, critical analysis of the new Mizrahi narrative. It does so by means of a theoretical model that examines it as an oppositional narrative – one that seeks to challenge the hegemonic meta-narrative, to dissolve the boundaries of the narrative discourse, and to propose liberation and redemption that may led to entrapment amidst a changing, a-dichotomous realities (e. g., global economic development in the face of Zionist nationalisms that display ideological strength as well as development of the sense of being an Israeli that maintains its vitality and continuity while being constituted by sectors that challenge being a Mizrahi, such as co-ethnic subjects. The Keshet's influence is dramatic and extends in a number of central directions. Its political activity and non-entry into the domains of the Israeli parliament granted the movement significant power in civic discourse and contributed to changing the persona of the Mizrahi discourse; for example, from political-party struggles over budgets and obtaining shares of the regime to changing the face of Israeli society and the centrality of the Mizrahi narrative. This change included deconstructing the Ashkenazic narrative and constructing comprehensive Ashkenazic-Zionist guilt, as evident in the Ehud Barak's request for collective forgiveness. This was accomplished through the participation of leading members of Keshet who appeared in prominent intellectual forums and engaged in lively discourse - principally in academic, social, and media domains. Such participation gave new meaning to various aspects of Israeli society while establishing different models of multiculturalism. The rise of the new Mizrahi narrative is a significant marker in the inter-narrative struggle as it represents a desire for separate or hybrid identities. And, the deep probing of the narrative constructed by leaders of The Keshet and those who identify with the movement produced a number of clear ways to distinguish it from the old Mizrahi struggle, whose history was portrayed through social protests, in a manner similar to linear vectors marked with wars and elections. The old Mizrahi struggle selected the traditional tactical struggle identified usually with social and political movements that seek to change political, social, and economic reality - from the bottom up. Their primary demand was to change decisions as well as the division of social goods and resources. Hence, this older period of struggle was not aimed at opposing the ideological foundations of the hegemonic narrative nor did it seek to undermine in a radical manner the unique nature of the state of Israel as a revolutionary solution for the problems of the Jews according to the Zionist approach, as a national home for the Jewish people, and recognition of the right to an preferred and meta-definition of Jewish nationalism. In contrast, the top down struggle advanced by the new narrative is part of an ideological movement led by the educated that is assertive and ground in post-colonialist theory. Accordingly, it was critical of the techniques and mechanisms of oppression as well as sought to attack the Zionist ideological foundations and to reveal its racist operations and the regimes that have preserved it so efficiently for many years. The uniqueness of this narrative is the intellectual offensive that continues to be advanced and, in parallel, development of the discourse struggle in Israel concerning the justification for Zionism and the concrete political proposal that Jews reject the taken-for-granted status of it as an ideology. This new narrative recognizes the historic difficulties of subversion as an emancipatory and, principally, moral effort. In addition, the new Mizrahi narrative shares the foundations and narrative of Palestinian victimization. In its radical version, the new Mizrahi narrative seeks to connect to the Palestinian narrative in order to create a new space here. According to this version, this action will take place gradually. The first stage will be characterized by opposition to Western European, Ashkenazic Zionism. The Eurocentric Zionism will surrender in the second stage, to be followed in the last stage by creation of a coalition of Jews and Arabs that will be establish through concrete actualization of the refugee status and victimization that is shared by both Palestinians and Mizrahim (whether as Mizrahim or Jewish-Arab). Not a speculative academic exercise, the goal sought by this narrative is delineate and to achieve a multicultural model in which equality, liberty, and social justice will overcome the nationalism and colonialism of either side; that is it will be neither Zionist nor Jewish. Thus, this approach stresses what is shared (e.g., acceptance of the Arab space and not a rejection of it; the legitimacy of the Arab language and culture). This is part of detachment from and historic judgment of the colonialist Zionist enterprise. This possibility includes moral elements that remove the evil and harm caused by Zionism for many years as well as inner cleansing – primarily among Ashkenazim – of attitudes towards Jews and non-Jews. Though, in this regard, it should be noted that, to date, the new narrative has not made similar claims that Palestinians undergo a similar process. The assumption seems to be that this should be tested, that the coalition proposed is a possibility that will be recognized by the Palestinians, and that they are prepared to undergo a similar, shared moral process that involves negating the state of Israel as a Jewish, Western state, a state of the Jewish people, and not only for those who live within it. These Mizrahi thinkers conducted a significant move through deconstruction and substitution of the Eurocentric narrative with a multi-cultural proposal that is optimistic and even attractively naïve. Today, they acknowledge that they did not take into account Palestinian nationalist violence directed to citizens, the traditionalist alternative, and widespread opposition within the Mizrahi community toward what is perceived to be Mizrahi seclusion. They also did not take into account the harsh criticism rendered by young and educated Mizrahim who claim that they were born into a complex, multi-dimensional, multi-layered identity that includes internalization of the language of the West and rules of the game of this complex identity. And, though they are critical of some of its values, this makes it difficult to mount internal emotional opposition to the West and to the globalization contained within this world. Hence, this more familiar world is preferred over the values of the Mizrahi-Arab alternative, particularly in regard to problems in the domains of democratic citizenship, stance taken toward women, and freedom of speech. Further, educated Mizrachim reject the post-colonialist perspective and are stridently critical of its dichotomization. They claim that such a division is irrelevant in a world in which older ideologies have collapsed and new spheres – such as cyberspace and others – are open to them in which they can present themselves with an Israeli identity that is not categorized as necessarily Mizrahi. (shrink)

Introduction. Artificial intelligence is a trend of NBIC-convergence and information technologies in particular. Since the 70s of the 20th century it has been a subject of intense debate in the scientific community. A direct indicator of the importance of the topic is the publication dynamics and the annual increase in the number of indexed articles. According to the statistics, Western social sciences are in the top five industry leaders. The purpose of the study is to analyze the Scopus database and (...) identify the key mythologems of the scientific discourse of social sciences (in the field of artificial intelligence). The latter go beyond the boundaries of research norms and standards and express non-reflective research intentions. Methods. The reference base of scientific arti- cles includes works published during the decade (2010—2020). Methods for detecting verbal mark- ers and content analysis were used. At the same time, the emphasis was mainly placed not on quan- titative, but on qualitative analytics as well. The basis for the choice of markers was the frequency of their use in abstracts (abstracts), headings (titles) and keywords. The selection of verbal markers was made in accordance with two conditionally desig- nated categories: «trends», or frequency engineering, technical and social and humanitarian terms, expressing the direction of research practic- es and «mythologemes», or elements of a second- ary semiotic system. Scientific novelty of the study. Scientific novelty is due to the specification of the research subject. In the West, the direction of the so-called «Tech- nological mythology», which focuses mainly on the discourses of art and ideological documents is being developed. The analytics of scientific content makes it possible to remove the existing research limitations of the subject and identify prospects for further study of modern mythology. Content analysis made it possible to identify some extreme- ly general formulations of technological mythologe- mes, which can be refined and concretized. Results. Following the results of the study, a de- scription of three metatrends was made — techno- logical, social and anthropological. All key directions within the boundaries of each trend are listed. At the same time, it is argued that the anthropotrend has a relatively smaller share in the discourse of Western social sciences. As a debatable aspect of the study, five scientific mythologemes were iden- tified and conditionally designated. Interpretations and characteristic examples of the functioning of each are offered. Conclusion. The technological trend is constituted by the data of technical sciences and engineering developments with a social orientation. Sociotrend is determined by the spectrum of technology application areas. The conclusion is made about the diffusion of two trends and the discourses serving these trends. Discursively, the technotrend serves to construct a strictly scientific discourse based not on abstract, but on specific and precise proposi- tions. Particular attention is paid to the discursive mainstream of «smartization», which is characteris- tic of the scientific content of the second decade of the 21st century. Emphasis is placed on the anthro- pological risks of extrapolating «smartization» to specialized practices. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Forms of Life and Cultural EndowmentsVictor Peterson IIYou know, honey, us colored folk is branches without roots and that makes things come round in queer ways.—Zora Neale Hurston (Their Eyes Were Watching God 15)what does it mean when we speak of a form of life? When speaking of a form of life, we consider one different from others by way of its mode of expression, that is, by its (...) means of construction. This interpretation lends itself to a functional analysis of the material put to use and whose operations jointly express the concept we are after. Modes of expression can be plotted between a rhetorical and semantic axis (Gates 48). As such, "[t]he level of connotation of the visual sign, of its contextual reference and positioning in different discursive fields of meaning and association, is the point where already coded signs intersect with the deep semantic codes of a culture and take on additional more active ideological dimensions" (Hall 56). Coordinates within this domain encode signifying practices, revitalizing the traditional concept of signification as a function of what's signified with respect to a signifier. The content of a syntagm in this coordinate system, a point in this plane, indexes its function with respect to others. As such, we will conceive of the content of modes of expression functionally.A function is defined by pairing an element from a domain and another from a sub/co-domain whereby that pair is an element of that function. In this way, we can treat functions as abstract objects. If we treat a domain as what determines the availability of an expression, and a sub/co-domain as representative of its range of application, then the function of applying some proposition maps a movement from a domain of selection to one of composition, that is, its use with respect to others. The function of an expression, then, represents an operation over the possible worlds of its appropriate application (Taylor 201–02, 269, 276). This becomes more interesting when considering assertions whereby one subject is known to be the case for another, a concept that's modeled when a proposition from one is appearing in the object position of another (Fara 65–73). Resultingly, a proposal for an [End Page 26] ontology constituted by modes of interaction rather than identity stipulations to physical entities arises. It follows that if a form of life is understood by way of its mode of expression, then its content is expressed as an ensemble of the functions of its operations. Let this ensemble of functions be called an endowment.There is a pervasive debate in cultural studies that obsesses over proprietary notions as well as the ability to locate an origin. With that in mind, let us consider a coordinate system where there are two perpendicular axes, and we define positions within the space provided at the intersection of lines drawn from each. Each axis is represented by an ordered series of markers. A line drawn from each axis indicates that the coordinates indexed at their intersection is a function of these two markers. This locates an individual at a point in that domain, indexing a relation between the axes framing that space. Therefore, that coordinate-wise space, here a domain of possible expression, is not "empty" as pessimists would claim, but is filled with functional-content, albeit functions yet applied and marked by a point in that plane.Although we are currently speaking of two-dimensional space, the same follows for as many dimensions as we want. A point's location is a function of three values in three dimensions, four in four dimensions, and so on. Forms of life, then, will be comprised of four dimensions. This allows for a space-time conception, wherein joint expressions bend space-time and that space dictates those individuals' possible movements. From this, we construct a geometrical model of space-time represented as a cube composed of two-dimensional slices with these slices extending in a particular direction like cards stacked one on top of the other to model time.We want our conception of a form of life to be spatial. After all, it... (shrink)

The article analyzes the cultural and civilizational consequences of a long experience of Ukrainians' perception of the biblical picture of the world and the corresponding principles of its development. The author's reasoning is based on the thesis that the very acquisition of the Bible as a sacred text created the space of a common language - the language of values and the language of symbols. The present "European world", even as a globalized phenomenon, has historically emerged as the embodiment of (...) an ideal, symbolic "biblical world". In turn, the over-millennial affiliation of Christianized Ukraine to the "biblical world" has become an extremely important symbolic marker and cultural and ideological factor of civilization. Adopting the principle of biblical historicism coupled with the idea of biblical history as a universal, universal Holy History of Salvation, our ancestors, along with other Christianized peoples, were given the chance to see themselves as full participants in world historical drama. The same universal principle led to the formation of a new model of interpersonal communication - communication, which united families and tribes in nations, and nations into international unity. We still know this unity as Europe - either staying in it or seeking to rebuild and strengthen its ties with it. And, despite the fact that this unity always seemed to be a political, cultural, civilizational unity, it was basically a spiritual and mental unity. The “biblical world”, as a center of norms and symbols, was embodied in the various social and cultural forms of the great Europe. The author outlines a panorama of common cultural ideas and values that have been learned by our ancestors over a thousand years ago, the source of which is the biblical worldview. In particular, the idea of indisputable and unceasing progress is analyzed — as the idea of historical progress in the development of each individual, each local society, as well as humanity as a whole. It is shown that the possibility of such progress is justified by the affirmation of the value of personal creative effort in the transformation of the world — an effort that involves creativity and initiative. The basis for the creative world transformation for the human development is the value of rational knowledge of the world. However, it has been shown that the ideas of progressism, personal creative activism, rationalism and pragmatism in the European mentality are substantially counterbalanced by several important values, which are also of biblical origin. In this context, the idea of personal and collective responsibility for what humans is being done in the world is emphasized. This value — as the maxim of socially significant behavior — in our culture is a powerful safeguard for personal or group selfishness and particularism.These values can be realized in a system of constantly updating communities. Community, communication is the basis of a a fulfilling personal and collective life, both religious and secular. On the concrete examples of the analysis of the reception of the European biblical experience by the figures of the Kiev theological tradition of the late XIX - early XX centuries, the author demonstrates the perception by the Kiev authors of this period of polyphonic unity of the European world, the normative and symbolic core of which was the Bible. The author reasonably argues that by comparing the foreign experience of mastering and applying the Bible with the domestic, "home" situation, Kiev theologian researchers objectively strengthened the idea of a universal "biblical world". The "biblical world" - as the unity of the spiritual-symbolic and ethno-geographical principles, is, to put it now, the "geopolitical phenomenon" - has been globalized and modernized. As a result, there were also challenges to Ukrainian culture and society. These challenges remain relevant every time we attempt modern Ukrainian state and national-cultural construction. The author's current conclusion is that even now our self-awareness as Europeans, as full members of the global community of nations, requires us to read the Bible as a source of meaning shared with the rest of the world, with the experience of other nations. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

Hypotheses about a mysterious ancient civilization were born in the eighteenth century among European intellectuals, who vied with each other to report on the high culture of India, supposedly having a universal mission. The impetus for this was the national consciousness awakened in European society back in the Renaissance. The European scientific community of the nineteenth century formed the term “Aryans”, which was originally used as a neutral term to define the Indo-European language family, as well as ancient culture, and (...) was synonymous with the term “Indo-Europeans”. The ethnonym “Arius” itself comes from the oldest Indian and Iranian sacred texts and meant “noble” or “luminous”. However, starting at the end of the 19th century, it began to be used to define “racial theories”, and later a specific nation, justifying their “natural right” to rule over the so-called “unelected” peoples. In the first half of the twentieth century, the term “Aryans” was used by the leaders of the Third Reich, which led to its final distortion, and the synonymous meaning “Indo-Europeans” was barely used. Since the second half of the twentieth century, the development of Indo-European/Aryan theories has taken on a new meaning, largely due to archaeological science. After the fall of the Iron Curtain scientists gained access to the civilizations of the Black Sea steppes and the Dnieper region of Ukraine, which was significantly limited during the communist years. At the end of the twentieth century, scientists received archaeological data not previously taken into account in Indo-European studies. Thus, with the development of research, the archaeological culture of Trypillia from the territory of Ukraine acquires the significance of the Indo-European or Proto-Indo-European culture, which, to a large extent, expands the idea of the ancient history of Europe. The paper considers the swastika symbol as a stereotypical marker of the Indo-European/ Aryan logos and its ideological inversion in the first half of the 20th century. Indo-European hypotheses underwent their significant formation and development precisely in the nineteenth and twentieth centuries. This particular period is historiographically well-covered in terms of research and therefore is included in this paper. At the same time, the paper also highlights new and promising methods of Indo-European issues researching that have already begun to be implemented in the twenty-first century. Since the formation and development of various Indo-European hypotheses in historical retrospect and an interconnected form is still an under-researched topic and has not been comprehensively considered in special scientific works, the author aims to carry out the above-mentioned research work. The study of the Indo-European hypotheses development covers the topics of the linguistic origin, worldview, local and racial hypotheses, examines Indo-European searches in the research of Ukrainian scholars, and reveals the subtopic of Trypillian culture and its specific symbolism, which corresponds to the above research topic. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Maternal Imprint: The Contested Science of Maternal-Fetal Effects (2021) by Sarah RichardsonQuill KuklaQuill Kukla, review of Sarah Richardson's The Maternal Imprint: The Contested Science of Maternal-Fetal Effects (2021)I had been eagerly anticipating the release of Sarah Richardson's meticulously researched The Maternal Imprint: The Contested Science of Maternal-Fetal Effects (2021) for several years, and I was not disappointed. A leading feminist scholar of the history and philosophy of (...) science, Richardson traces the scientific history of the idea that pregnant people's bodies control the future health, character, and well-being of their offspring. She also explores how this science is translated into social messaging and shaped by social ideology. Richardson delves into the details of the methodology, motivations, results, and communication of the science of maternal influences. She reveals a history of shaky results, contested methods, and socially loaded messaging, unified by a sustained interest in framing maternal bodies as sites of risk and responsibility for birth outcomes.A central narrative of the book is that the perceived location and mechanism through which pregnant bodies control fetal development keeps shifting around; over time, scientists have located this maternal influence in the uterine environment, the cytoplasm, the methylation of DNA, maternal nutrition, and even in the emotions, thoughts, and imagination of the mother, among other locations.1 Each time a version of the maternal influence hypothesis re-emerges, targeting a different bodily location and mechanism, it comes along with similar social messaging: pregnant people are distinctively responsible for the 'quality' of their children; their bodies are distinctive sites of risk, in need of social management; and their influence can be understood and controlled independent of the context in which they live. Given how many times this scientific hypothesis and its accompanying social messaging has died and been reborn, it is hard not to conclude, with Richardson, that background ideology compels us to keep searching for new stories that take this same form. The idea that pregnant people's bodies are understood as decontextualized and heightened sites of risk and responsibility for birth outcomes, in need of systematic discipline (both self-discipline and social discipline) in order to ensure their production of proper offspring, is one that has been explored [End Page e-1] in quite a bit of depth within feminist theory and reproductive ethics over the last thirty years. To name just a few, Barbara Duden's Disembodying Women: Perspectives on Pregnancy and the Unborn (1993), Deborah Lupton's "Risk and the Ontology of Pregnant Embodiment" (1999), Lisa Mitchell's Baby's First Picture: Ultrasound and the Politics of Fetal Subjects (2001), and my own Mass Hysteria: Medicine, Culture, and Mothers' Bodies (2005) are all works firmly within this tradition. What is new about Richardson's book is not the development and exploration of this cultural narrative and imaginary, but rather her rigorous and skillful analysis of the science that has grown out of and undergirded it. Richardson is a masterful writer, who makes scientific details comprehensible and fascinating. Her historical and epistemological analyses of exactly what shaped the science at each stage, what each scientific iteration did and didn't manage to show, and how these different scientific movements were translated into public messaging, is sharp and compelling. Richardson shows us the inner workings of how scientific programs build momentum; how scientists make methodological decisions; and how results feed into ongoing research programs. From this book, we also develop a rich sense of just how much uncertainty is baked into the science of human development, and how both scientific and public excitement about a given research program are mostly independent of the success and security of the science that comes out of it. The book traces 150 years of the history of the science of maternal influences, culminating in the current focus on epigenetics—which, like various past maternal influence theories, has ignited our broader social imagination. Epigenetics, roughly, is the study of molecular changes outside our DNA that control how genes express themselves. Environmental stimuli (such as stress) can cause changes in methylation, and thereby influence the expression of the genome: "Epigenetic markers that help determine whether a... (shrink)

Photographs by one of French cinema's most influential and enigmatic artists. Any new film and any new book by French filmmaker Chris Marker is an event. Marker gave film lovers one of their most memorable experiences with La Jetée —a time-travel montage set after a nuclear war that inspired Terry Gilliam's Twelve Monkeys. His still camerawork is not as well known, but Marker has been taking photographs as long as he has been making films. Staring Back presents 200 black-and-white photographs (...) from Marker's personal archives, taken from 1952 to 2006. Some of the photographs are related to his classic films, others are portraits of famous faces, but most are pictures of people Marker has encountered as he has traveled the world. The central section of the book contains a series of photographs documenting political protests Marker has witnessed, including the march on the Pentagon in 1967, the events of May 1968 in Paris, and the tumultuous 2006 demonstrations protesting the French government's proposed employment policies. The photographs are accompanied by several unpublished texts by Marker, including the English language text of The Case of the Grinning Cat and Marker's annotations for some of the photos. The book—which appears in conjunction with an exhibition at the Wexner Center for the Arts at The Ohio State University—also includes essays by Wexner Center curator Bill Horrigan and art historian Molly Nesbit. (shrink)

During the Notre Dame workshop on Vaught's Conjecture, Hjorth and Kechris asked which Borel equivalence relations can arise as the isomorphism relation for countable models of a first-order theory. In particular, they asked if the isomorphism relation can be essentially countable but not tame. We show this is not possible if the theory has uncountably many types.

We outline the Hrushovsk-Sokolović proof of Vaught's Conjecture for differentially closed fields, focusing on the use of dimensions to code graphs.

The doctrine of double effect has a firm, respected position within Roman Catholic medical ethics. In addition, public debate often incorporates this doctrine when determining the acceptability of certain actions. This essay examines and assesses the application of this doctrine to end-of-life decisions. National Catholic Bioethics Quarterly 11.1 (Spring 2011): 99–119.