Scatological shock-merchants, untrained social workers, conflict-zone tourists: from a certain standpoint the relationship between contemporary art and ethics involves a string of negative conjunctions. At their center stands the artist, whose personality and intentions often serve as an ethical measure of the work. This book operates on the basis of a different premise: that artworks themselves have ethical effects, and looking at these effects can tell us about wider processes of social change. As the first full-length study of its (...) kind to outline a positive vision of the ethics of contemporary art, this book distances itself from previous accounts that focus on transgression. The critique of transgressive art is not made on the basis that it is wrong, but that it no longer succeeds on its own terms in societies where language, prohibition and morality are more plastic than they once were. By drawing on the work of Félix Guattari and Jacques Lacan, the book develops a novel theoretical framework that emphasizes the effect of art on subjectivity. Along the way artworks by Kader Attia, Artur Zmijewski, Dora Garcia and others serve as springboards launching discussions of the varied pathways along which a renewed ethics of contemporary art might develop. (shrink)

La transgression est une posture critique. On peut l'associer à l'audace, à la subversion, à la révolte. La transgression s'affiche, elle est revendiquée. Elle remet en cause ce qui est considéré comme acquis, accepté par tous, et ébranle la légitimité d'un système de valeur. Elle est donc contestation. La transgression est à la fois une forme de résistance et la proposition d'autre chose. Elle ouvre de nouveaux espaces, de nouvelles aventures, débouche sur de nouvelles expériences. Transgresser, c'est (...) donner à voir et à penser autrement. (shrink)

Since the turn of the millennium South Korea has continued to grapplewith transgressions that shook the nation to its core. Following the serial killings of Korea's raincoat killer, the events that led to the dissolution of the United Progressive Party, the criminal negligence of the owner and also the crew members of the sunken Sewol Ferry, as well as the political scandals of 2016, there has been much public debate about morality, transparency, and the law in South Korea. Yet, despite (...) its prevalence in public discourse, transgression in Korea has not received proper scholarly attention. Transgression in Korea challenges the popular conceptions of transgression as resistance to authority, the collapse of morality, and an attempt at self- empowerment. Examples of transgression from premodern, modern, and contemporary Korea are examined side by side to underscore the possibility of reading transgression in more ways than one. These examples are taken from a devotional screen from medieval Korea, trickster tales from the late Choson period, reports about flesheating humans, newspaper articles about same- sex relationships from colonial Korea, and films about extramarital affairs, wayward youths, and a vengeful vigilante. Bringing together specialists from various disciplines such as history, art history, anthropology, premodern literature, religion, and film studies, the context- sensitive readings of transgression provided in this book suggest that transgression and authority can be seen as forming something other than an antagonistic relationship. (shrink)

In the following essay I explore some implications of Kieran Cashell’s notably original recent book Aftershock. This is a searching examination of how we might treat transgressive artwork by exploring certain shortcomings of the aesthetic tradition and equally certain shortcomings of those who speak with artistic authority (critics, commentators, and artists themselves). Cashell cuts through a grossly impacted volume of subterfuge in order to advance arguments that question how we have come to appreciate artwork and which show how some transgressive (...) artwork challenges conventional ways of considering art. This he achieves by deploying an impressive roster of theorists, commentators, critics and artists, dismissing various kinds of hyperbole and revealing what is left standing after a vigorous clearance. Cashell strikes at the foundations of the aesthetic tradition and locates some instances of transgressive art in a pivotal position where they may be appreciated not through the aesthetic tradition of disinterestedness but through the traditionally compromising (for aesthetics) paradigm of ethics. I illustrate this with specific reference to Cashell’s Chapter Two where he discusses Marcus Harvey’s publicly and critically reviled painting Myra. Cashell defends this painting, not through any appeal to the liberal-minded ‘freedom-of-speech’ principle, but for its sheer resistance to processing via the traditional idea of aesthetic disinterest. He recommends that the painting be regarded – without any loss of aesthetic worth – as immoral and disturbing and for just this reason as inviting us to join in human solidarity with those who were affected by the crimes associated with Myra Hindley. By thus merging ethical consideration with the response to an aesthetic artform the merits of the painting are preserved while its full force is sustained against the morally enfeebling aspect of Kantian aesthetic disinterest. (shrink)

This book critically examines the philosophy of the term 'transgression' and how it shapes the utopian vision of contemporary urban design scenarios. The aim of this book is to provide scholarly yet accessible graphic novel illustrations to inform narratives of urban manifestos. Through four select case studies from the UK, Cyprus and Germany, the book highlights the paradoxes and contradictions in architecture and provides detailed evaluation of the limits and contemporary forms of sustainable urban regeneration. The book proposes an (...) 'utopian urban vision' approach to social, political and cultural relations, trends and tensions both locally and globally, and seeks to inspire an awakening in architectural discourse. The book argues that the philosophical undermining of transgression is the result of a phenomenon from a different perspective -- its philosophical background, its social construction, its experimental research process and its design implications on the city. As such, the book provides a critical examination of how architectural design interventions contribute to sustainable urban regeneration, gentrification and can impact local communities. This book provides a significant contribution to both undergraduate and postgraduate students, as well as early career researchers working in architecture, planning and sustainable urban design. It offers effective guidance on adopting the state-of-the-art graphical illustrations into their own design projects, while considering contradictions between architectural discourse and the philosophy of transgression. (shrink)

In the paper, I pose the question of how, on artistic, aesthetic, and philosophical levels, decoration and domestic handicrafts as subversive strategies enable the undermining and breakdown of class-based and patriarchal divisions into high and low, objective and subjective, public and private, masculine and feminine. I explore whether handicrafts, in accordance with feminist postulates, are transgressive, transformative, and inclusive. I link handicrafts with the feminist perspective, since, in the second half of the twentieth century, it was precisely the feminist movement (...) that initiated significant changes in the social and cultural perception of women, femininity, and gender relations. Thus I apply this perspective in the first place to the analysis of selected works of contemporary art in which handicrafts is used not only as a means of artistic expression but also as a subversive aesthetic strategy. I also demonstrate how the world of fashion transforms and aesthetizes handicrafts, whose presence in fashion makes it an area in which, in addition to imperatives and aesthetic values, social attitudes, ethical values, and world views are shaped. Finally, referring to the works of selected feminist authors (Mary Field Belenky, Mary Daly, Evelyn Fox-Keller, Donna Haraway), I show how these researchers have metaphorically interpreted handicrafts as specifically feminine ways of creating and developing knowledge. (shrink)

'Risquons-Tout' is an ambitious, thematic group exhibition that explores the potential of transgression and unpredictability. It examines how art challenges the homogenisation of thought in the now infamous echo chambers of our overcrowded info-sphere. 'Risquons-Tout' presents some of the most innovative and influential artists and authors from the Eurocore region, which extends between Amsterdam, Paris, Cologne, Düsseldorf and London, with Brussels at its centre. The title is borrowed from a place located on the Belgian-French border, a real yet liminal (...) space of transition, passage and informal exchanges, notably smuggling. The invited artists negotiate different dynamics of bridging, passing, translating and transgressing. In doing so they burst the safe bubbles generated by prediction algorithms, designed to avoid any risk, whether intellectual, financial, emotional or physical. The exhibition's geographic and political scope addresses today's global connectivity, trans-national circulation and diasporic movements. 'Risquons-Tout' will occupy the entire WIELS building and range out into neighbouring exhibition and performance spaces. It will present the works of 38 internationally recognised or emerging artists. The exhibition proposes a rich array of practices that defy easy categorisation. 'Risquons-Tout' will also include a performative section and an Open School that will serve as a laboratory for artists and scholars to draw upon questions of risk, unpredictability and borders through a range of alternative methods for the transmission of knowledge. Exhibition: WIELS, Brussels, Belgium (12.09.2020 - 10.01.2021). (shrink)

Ever since Plato expelled the poets from his ideal state, the ethics of art has had to confront philosophy's denial of art's morality. In Art before the Law, Ruth Ronen proposes a new outlook on the ethics of art by arguing that art insists on this tradition of denial, affirming its singular ethics through negativity. Ronen treats the mechanism of negation as the basis for the relationship between art and ethics. She shows how, through moves of (...) denial, resistance, and denouncement, art exploits its negative relation to morality. While deception, fiction, and transgression allegedly locate art outside morality and ethics, Ronen argues they enable art to reveal the significance of the moral law, its origins, and the idea of the good. By employing the thought of Freud and Lacan, Ronen reconsiders the aesthetic tradition from Plato through Kant and later philosophers of art in order to establish an ethics of art. An interdisciplinary study, Art before the Law is sure to be of interest both to academic philosophers and to those interested in psychoanalytic theory and practice. (shrink)

The Paradox of Transgression in Games looks at transgressive games as an aesthetic experience, tackling how players respond to game content that shocks, disturbs, and distresses, and how contemporary video games can evoke intense emotional reactions. The book delves into the commercial success of many controversial videogames: although such games may appear shocking for the observing bystander, playing them is experienced as deeply rewarding for the player. Drawing on qualitative player studies and approaches from media aesthetics theory, the book (...) challenges the perception of games as innocent entertainment, and examines the range of emotional, moral, and intellectual experiences of players. As they explore what players consider transgressive, the authors ask whether there is something about the gameplay situation that works to mitigate the sense of transgression, stressing gameplay as an aesthetic experience. Anchoring the aesthetic game experience both in play studies as well as in aesthetic theory, this book will be an essential resource for scholars and students of game studies, aesthetics, media studies, philosophy of art, and emotions. (shrink)

The historical context of body and tissue donation is deeply problematic, with patriarchal and colonial narratives. The contemporary context of molecular and genetic biology further complicates issues of bodily donation through narratives of abstraction and extraction. As practitioners working outside the conventional boundaries of scientific study learn the tools and techniques to extract and use bodily materials, they are also learning and challenging the procedures and processes. This article approaches questions of bodily donation through the edited transcript of a conversation (...) between artists who regularly use body fluids and cellular bodily materials in their practice, moderated by Louise Mackenzie and Ilke Turkmendag as part of the Taboo–Transgression–Transcendence in Art & Science Conference held online with the support of the University of Applied Arts, Vienna, 2020. The panel challenged the ethical and conceptual assumptions made in biotechnological research and reconsidered where the boundaries of the body lie, what ‘authority’ research carries and what choices researchers make when using the bodies of others. The transcribed conversation addresses taboos of the female body, specifically menstruation, the commodification of tissue from female human bodies, human milk politics and questions biopolitical treatment of the female body. The full, unedited panel conversation, including questions from the audience, and an accompanying video of edited interviews with panellists, is available online at https://www.loumackenzie.com/offering-the-body. (shrink)

In this paper, the future of bullfighting in France not long to break the moral value and aesthetic experience in disputes arising from conduct analysis to facilitate thinking about aesthetic experience and the relationship between animal existence. This paper is seeking to explore, and not in the evaluation of an article or opinion on a work conflict, but conflict involved to judge the value of multiple values. Guardian of moral values ​​and oppose bullfighting events, the main slogan is to respect (...) life, refused pain; and aesthetic value of the defenders, usually held in the name of safeguarding cultural heritage and maintain the aesthetic quality of performance. Evaluation criteria of the dispute and defend the value caused by the conflict is not the same evaluation criteria dispute is business volume, but as long as both parties agree, you can also stop the dispute; but to defend the value caused by the conflict is poured out not In order, because the two sides都that the other side The defense held the right of speech is not. This will work for contemporary art in the use of animals in vivo action conducted research to explore the contemporary art of the new research topics implied by the reach of the arts domain and the domain of U.S. academic issues. Contemporary art in the works use living animals move, going beyond In order to both logic system recognized by the precinct, including the U.S. academic field naturalist館exhibition science precinct, ethics and moral of the bounded domain, the legal precinct, and so on. The definition of contemporary art across borders is an important factor in the definition. This paper will examine the Huang Yong Ping's "World Theatre" Case, this was originally a huge cultural center complete degree 1994's "beyond boundaries" arranged by one of the works on display, but In several animal protection requirements under the Joint Association was eventually canceled. Case in other article, is the author of contemporary art in the study of the U.S. boycott of the case made ​​by the observation results. These different Case studies - is currently on-going research work - at least lead to two problems: artists at work using live or dead animals, whether in what form cross In order moral bounded domain and / or the U.S. academic Domain? Also, from one precinct to another precinct of the transition, the leap of variables that? Description of the future, after all, this issue of intense controversy, is originated from the West, so that this issue regardless of whether the problem is the West competition, but more is not Chinese or Asian issues of concern? Based on various conflicts of evaluation , this study of the relationship between aesthetic experience and animality evidences the existence of value registers, above the very values ​​such as beauty or sensitiveness. Aesthetic register is used by the supporters of a work in the name of cultural traditions or artistic quality, while ethical register is used by its opponents in the name of respect for living beings or of refusal to inflict sufferings. Whereas value conflicts allow discussions that may end up with an agreement, value registers conflicts can generate but endless fights, since the arguments of one party are without any relevance for the other party. Out of various case studies, mostly in France and in the USA, two questions arise. First, what kinds of moral and / or aesthetic boundaries are transgressed by the use of animals "living or even dead" in artistic proposals? Second, how do these transgressions change according to different cultures? Do they raise more difficulties in western culture than in Chinese or Asian culture, since the latter provides the propositions which have been most violently attacked in the Western world? (shrink)

This article discusses the “aesthetics of existence” developed by Foucault in the late “ethical” stage of his work, aiming to clarify its complex significance through its relationships with ethics, critique, and, in particular, art as a model of self-invention. The main claims are that aesthetics of existence is a new type of self-formation molded by technologies inspired not only by the ancient ethical self-formation but also by modern art understood as creative self-production; thus, aesthetics of existence is an active (...) form of aesthetic education, in the particular sense of an ontological self-formation. To argue these claims, the author advances a line of analysis alternative to typical readings, which see it as related exclusively to the ancient “art of living” or its modern revival in the Nietzschean project of self-fashioning. The focus is instead on the Baudelairean and Kantian roots of Foucault’s work—modernity as a critical attitude and the transgressive art of the self of the dandy—as keys to understand the reframing by him of the art of living into a modern aesthetics of existence. This appears as a critical-transgressive invention of the self, which could contribute to constituting new subjectivities and alternative norms for the entire social body. (shrink)

Ancient monism matters today because it reveals an alternative answer to a problem faced by ontology “after the death of god,” namely, how to distinguish between good and bad actions after the disappearance of transcendence. The modern answer in Continental philosophy was systematized by Heidegger and consists in positing that the everyday is permeated by instrumentality whereas there is a different kind of action that is noninstrumental, such as art or the thinking of being. By contrast, ancient monism holds that (...) all actions are instrumental and employs on a typology of action that relies on the distinction between techne and phronesis. Recognizing a different answer from the dominant Heideggerian one has the potential to renew the conception of the ethical and the political in Continental philosophy. (shrink)

In Faculty Misconduct in Collegiate Teaching, higher education researchers John Braxton and Alan Bayer address issues of impropriety and misconduct in the teaching role at the postsecondary level. Braxton and Bayer define and examine norms of teaching behavior: what they are, how they come to exist, and how transgressions are detected and addressed. Do faculty members across various collegiate settings, for example, share views about appropriate and inappropriate teaching behaviors, as they share expectations regarding actions related to research? And what (...) mechanisms are utilized to correct inappropriate behavior on the part of college and university teachers? The authors' work is based on survey results obtained from faculty members at research universities, liberal arts colleges, and two-year community, junior, and technical colleges. Braxton and Bayer's focus is on undergraduate teaching in four disciplines: biology, history, mathematics, and psychology. In their analyses, the authors examine how individual, disciplinary, and institutional differences influence professorial behavior. In contrast to the more explicitly understood and enforced rules of conduct in research, the authors find that teaching norms are informally defined and observed. They argue that a formal code of ethics for undergraduate teaching would serve the dual purpose of improving undergraduate education and elevating the status of college teaching. A groundbreaking study of contemporary academe, Faculty Misconduct in Collegiate Teaching is required reading for all university and college instructors and administrators. (shrink)

Does the blasphemous nature of writing Koranic verses on naked women make for good art? Is not the very obscenity of ‘gangsta’ rap part of its appeal as music? In the face of an artist's claims to aesthetic autonomy from ethical evaluation, or even the expression of a kind of duty to transgress normal moral boundaries, Berys Gaut has dedicated 252 pages of crisp but rather dry academic review to a defence of a positive relationship between art and ethics.

In art and literature, animals appear not only as an allegoric representation but as a reference which troubles the border between humanity and animality. The aim of this book is to challenge traditional ways of confronting animality with humanity and to consider how the Darwinian turn has modified this relationship in postmodern narratives. The subject of animality in culture, ethics, philosophy, art and literature is explored and reevaluated, and a host of questions regarding the conditions of co-existence of humans (...) and animals is asked: Should discourse ethics now include entities that initially seemed mute and were excluded from discussions? Does the modern animal rights movement need a theology, and vice versa, is there a theology that needs animals? Are animals in literature just metaphors of human characters, or do they reveal something more profound, a direction of human desires, or a fantasy of transgressing humanity? This book provides answers and thus gives a new impetus to a so far largely overlooked field. (shrink)

This article explores the ethical imperative to dramatise in the work of Georges Bataille and Gilles Deleuze, two of the most radical thinkers in twentieth-century philosophy, as a peculiar kind of askesis. Whereas askesis is often associated with asceticism or self-denial, in the sense of self-regulation and abstention, Bataille and Deleuze advocate training the self towards intensification of the liminal and extreme, which can rather be understood as a denial of self – its dissolution or laceration. Few attempts have been (...) made to compare their work, even though both share a commitment to resisting the closures that bind our desires and inhibit our full participation in and confrontation with the ebbs and flows of an impersonal, immanent life. Through careful consideration and comparison of their work, I argue that both offer important methods for engendering modalities of ecstatic being characterised by sensitivity to immanence, which have important ramifications for our ability to address phenomena of ethical indifference and resist the constrictions of social control mechanisms that decimate our political imaginations and inhibit our resolve to invent a different future. In the final sections, I interrogate the differences in their invocation of affect and art. (shrink)

This article interprets Foucault's life-long involvement with transgressive experiences as an art of not being oneself, an effort to escape identity and become other. By bringing together Foucault's own theoretical practices with those drawn from Deleuze and Blanchot, and linking these with biographical material, I show how Foucault's `encounters' with passion and pleasure in film, philosophy, S/M, drugs, the Greeks and suicide amount to an `art of living', an intensification of the power to affect oneself and others in processes of (...) `subjectivation', creating new possibilities of life. This is what Foucault more precisely called an `ethics' - an immanent ethics in which one becomes worthy of what happens to oneself by becoming a work of art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Maurice Blanchot and the Literature of TransgressionColette GaudinMaurice Blanchot and the Literature of Transgression, by John Gregg; 241 pp. Princeton: Princeton University Press, 1994, $29.95.In the preface to The Gaze of Orpheus (1981), the first book in English to present a collection of Maurice Blanchot’s critical essays, Geoffrey Hartman recalls his excitement on discovering this philosopher-novelist in the fifties. As for Hélène Cixous, she speaks of “Blanchot’s (...) terrifying but admirable art.” Blanchot indeed holds a paradoxical place in French literature and criticism. His books constitute a fundamental work of our time, yet his reflection developed in total independence of the noisiest intellectual debates of his times. A contemporary of Sartre, a friend of Georges Bataille and of Emmanuel Levinas, Blanchot began his career as a literary chronicler before World War II, even collaborating for a few years in rightist publications. But he generally remained at a forbidding distance from the media and the public, revealing [End Page 160] himself only through his writings: three novels, a number of terse short stories or récits, and an abundant critical corpus evolving toward fragmentary meditations on the conditions of literature’s possibility and on the experience of writing. He was the first, in the midst of the existentialist wave following the war, to pay close attention to the poetics of Mallarmé and Rilke, the art of Flaubert or Kafka, and the ethical provocations of Nietzsche, all of which were to become trademarks of postmodernist thinkers. Yet our present familiarity with these motifs does not make Blanchot less difficult and even less esoteric.With Maurice Blanchot and the Literature of Transgression, John Gregg now gives us the first English book-length study devoted exclusively to Blanchot, organized around solid analyses of several difficult texts—more extensively of the novel Le Très-Haut and the fragmentary narrative L’Attente l’oubli. There is unfortunately very little excitement or terror in the way Gregg presents his work, which bears traces of the doctoral thesis it evidently once was. Whereas the choice of transgression, as the focus of the study is quite appropriate, the title suggests, somewhat misleadingly, that transgression will be treated as a theme common to a group of authors including Blanchot. The “Introduction,” barely more than an extended table of contents, fails to prepare the reader for the provocative notion of transgression illustrated and theorized in Blanchot’s writing, a notion inherited from psychoanalysis and ethnology via Bataille, and which has to do with the law, Eros, and negativity. In his opening pages, moreover, we are confronted with concepts that Gregg takes for granted. A neologism such as “worklessness” (p. 8), for instance, does not make sense without a minimal gloss relating it to Blanchot’s pair of opposites, œuvre/désœuvrement. Similarly, the opposition between “regional economy” and “general economy,” which is Gregg’s constant point of reference, needs to be anchored historically and philosophically in order to accomplish its function.To nuance the preceding criticism, it should be stressed that Blanchot’s thought defies summary, linear exposition, and dialectical closure, just as his fiction illustrates the impossibility of narration. His work draws on multiple influences and at the same time is fiercely original. His reflection proceeds through two apparently contradictory processes, dispersion and repetition, the function of the latter being more to situate what is said in its difference from itself than to convince others. Gregg’s first chapter (poorly titled “Literature and transgression”) rightly indicates the ambivalent Hegelian heritage found in Blanchot as well as in Bataille. For if Hegel is a great inspiration to them, he is also a constant foil, in that he ignores the surplus of negativity that no dialectic can absorb through the historical or artistic process. Gregg’s method, that of tracing a pattern of nondialectical play of opposites in Blanchot’s writing, takes on its full effectiveness in the following chapters, in which he shows the circular relation (or exigence circulaire) that Blanchot establishes repeatedly between death and writing in his definition of the “suicidal artist.” The study of Orpheus as a mythical portrayal of writing and reading equates [End Page... (shrink)

While the presence of monsters in popular culture is ever-increasing, their use as an explicit or implicit category to frame, stigmatise, and demonise the other is seemingly on the rise. At the same time, academic interest for monsters is ever-growing. Usually, monstrosity is understood as a category that emerges to signal a transgression to a given order; this approach has led to the demystification of the insidious characterisations of the (racial, sexual, physical) other as monstrous. While this effort has (...) been necessary, its collateral effects have reduced the monstrous to a mere (socio-cultural) construction of the other: a dialectical framing that de facto deprives monstrosity from any reality. 'Monstrous Ontologies: Politics, Ethics, Materiality' proffers the necessity of challenging these monstrous otherings and their perverse socio-political effects, whilst also asserting that the monstrous is not simply an epistemological construct, but that it has an ontological reality. There is a profound difference between monsters and monstrosity. While the former is an often sterile political and social simplification, the end-product of rhetorical and biopolitical apparatuses; the latter may be understood as a dimension that nurtures the un-definable, that is, that shows the limits of these apparatuses by embodying their material excess: not a 'cultural frame', but the limit to the very mechanism of 'framing'. The monstrous expresses the combining, hybridising, becoming, and creative potential of socio-natural life, albeit colouring this powerful vitalism with the dark hue of a fearful, disgusting, and ultimately indigestible reality that cannot simply be embraced with multicultural naivety. As such, it forces us towards radically changing not the categories, but the very mechanisms of categorisation through which reality is framed and acted upon. Here lies the profound ethical dimension that monstrosity forces us to acknowledge; here lies its profoundly political potential, one that cannot be unfolded by merely deconstructing monstrosity, and rather requires to engage with its uncomfortable, appalling, and revealing materiality. This book will appeal to postgraduate students, PostDocs, and academics alike in the fields of philosophy, critical theory, humanities, sociology and social theory, criminology, human geography, and critical legal theory. (shrink)

This essay explores the polemics that took place in France in 2001 on the occasion of an exhibition of photographs of Nazi concentration and extermination camps. The article analyzes hostile responses to this exhibition and to its catalogue, written by art historian Georges Didi-Huberman. Condemned for having transgressed an apparent prohibition of the representation of the Holocaust in France, Didi-Huberman responded with a book that tackles the questions of representation in relation to war and trauma. While recognizing the ethical and (...) intellectual merits of Didi-Huberman's response, the essay nonetheless suggests that the French debate, whether it promotes or demotes images of the Holocaust, seems to perpetuate an apocalyptic, allegorical, and sublime reading of Auschwitz. (shrink)

De-anthropocentrism is the leitmotif of philosophy in the twenty-first century, encouraging diverse and competing thoughts as to how this goal may be achieved. This article argues that the method by which we may achieve de-anthropocentrism is ethical rather than metaphysical – it must involve a creation of the self, rather than an interpretation of the given human conditions. Through engagements with the thought of Nietzsche, Levinas, and Foucault, and a close reading of Baudelaire’s poem “La Beauté,” I will illustrate three (...) ethical commitments essential to de-anthropocentrism: to abandon the claim to knowledge associated with human reason, to remain in perpetual quest of an object, and to transgress the given perceptual structure through aesthetic experience. In contrast to Kantian philosophy built upon universal human reason, art is the ethical arena where each artist creates their own way to relate to the object, while de-anthropocentrism occurs – this article argues – when the artist includes the self as the field of creation. Object-Oriented Ontology in my assessment is the only branch of philosophy that truly achieves de-anthropocentrism. (shrink)

Since the Renaissance, dramatic theory has been strongly influenced, sometimes even dominated by Aristotle’s Poetics. Aristotle’s concept of tragedy has been perceived as both a descriptive and a normative concept: a description of a practice as it should be continued. This biased reading of ancient theory is not exceptional, but in the case of Aristotle’s Poetics, a particular question can be raised. Aristotle has written about tragedy, at a moment that tragedy had no meaningful political or civic function anymore. As (...) political theory—e.g. as developed in the Politics and the Art of Rhetoric—should contain the risks of transgression in political practice, so poetic theory can contain the risks of the representation of transgressions in poetic practices such as the performance of tragedy. Apart from an account on Aristotle’s Poetics as a integral part of his ethical and political theory, this article argues the (mis)readings of Aristotelian dramatic theory since the Renaissance, and especially in 17th century France are not coincidental. Aristotle’s theory itself fits neatly into a political-theoretical framework or, if one puts it more brutally, an ideology. The particular theatricality of French absolutism took clearly its advantage from this ideological (mis)readings of Aristotle. (shrink)

The volume starts with the paper of Lynn Maurice Ferguson Arnold, former Premier of South Australia and former Minister of Education of Australia, concerning the Exposition Internationale des Arts et Techniques dans la Vie Moderne (International Exposition of Art and Technology in Modern Life) that was held from 25 May to 25 November 1937 in Paris, France. The organization of the world exhibition had placed the Nazi German and the Soviet pavilions directly across from each other. Many papers are devoted (...) to the interpretation of this opposition. Arnold’s paper considers the differences in the two totalitarian states’ architectural and design discourse styles. Although each of them communicated a totalitarian language of purposes, permissions, and boundaries, they essentially differed in the styles of discourse represented by the architecture and design of their respective pavilions. They were opposites of each other and the liberal ideals they contested. The internationalist viewpoint reflecting the multi-ethnic mix of the USSR is contrasted to the ein Volk homogeneity represented in the German pavilion. The Soviet pavilion opted for a utopian future to be arrived at by “benign” leadership, whereas the German pavilion anchored itself in the myth of Teutonic history with the nostalgic pride protected by the swastika-bearing eagle. Jean-Yves Béziau is best known as a logician and founder of Universal Logic. However, in this paper, he poses a new philosophical question: why philosophical discourse does not use images? The paper begins with a general analysis of different types of philosophical discourses. Then, he focuses on why images have been and are still rejected in philosophical discourse. He explains various ways to use images in a fruitful way to develop philosophical thinking and discourse and illustrates his view by providing several examples. He concludes with a promising programmatic declaration about founding a new journal entitled World Journal of Pictorial Philosophy to stimulate the usage of images for developing philosophical thinking. Although complaints about the obscurity of many philosophers’ discourse are widespread, Tatiana Denisova, ex-professor of the Surgut University and a research associate of the University of the Aegean undertakes a positive attitude to this problem. She explains that the reasons for the obscurity of philosophical texts, the subsequent complexity in communicating philosophers’ meanings and their eventual incomplete understanding is not a sign of their inferiority. On the contrary, it is a sign of the fruitfulness of philosophical discourse, which can generate new meanings. Thus, the darkness of philosophical discourse is like the life-giving chaos, and the obscurity that it inevitably contains can be the keeper of implicit meanings and even their generator. Katarzyna Gan-Krzywoszyńska and Piotr Leśniewski, authors of a monograph on Polish philosopher Kazimierz Ajdukiewicz (1890 – 1963), make a comparative analysis of his educational style with that of Paulo Reglus Neves Freire (1921 – 1997). The authors highlight that these scholars have distinctly different backgrounds. The former was an educator, philosopher and a leading advocate of critical pedagogy connected with the dialogical Latin-American tradition. The latter was a philosopher and logician, a notable representative of the Lwów–Warsaw school of logic with significant contributions to semantics, model theory and the philosophy of science. Despite their apparent difference, the authors identify some striking similarities regarding their attitudes towards education; notably, their approaches are essentially dialogical. Gilah Yelin Hirsch is a multidisciplinary artist who works as a painter, writer, curator, educator, and filmmaker. In her experiential paper, he explains how and why she uses four channels of communication in her creative expression: writing, painting, filmmaking, and teaching, as dialogic inquiry. She considers that these channels compose a continuum of discourse styles, each reaching a different facet of kaleidoscopic consciousness. She claims that her choice of medium is prompted by a need to communicate her insights profoundly. Thus, for instance, she created painted allegories to express narratives based on dreams and visions emerging from her subconscious. Art and healing is another Tibetan-rooted type of discourse practised by the author. Creating and observing a healing image produces a positive psychophysiological change in both the artist and the viewer. The discourse here is tripartite between creator, image, and viewer. Filmmaking is another type of discourse she practices between the filmmaker/artist as shaman or healer and the viewer as respondent or participant. These films are meant to be experienced frame by frame, physically and emotionally in both the body and mind. Jocelyn Ireson-Paine is a cartoonist and programmer. His paper offers an original attempt to use category theory in cartooning. Category theory is a branch of mathematics that provides concepts and methods to describe general abstract structures in terms of a labelled directed graph called category, whose nodes are called objects, and whose labelled directed edges are called arrows (or morphisms or transformations or mappings). The author explores different ways to define “style” in art using category theory and a relational view of art. Moreover, he examines how “translation” (transformation) between styles could be defined and reveals the difficulties of how it could be implemented in a computer using special software. Jens Lemanski is a philosopher who has revived research in Arthur Schopenhauer’s legacy by exploring his work on mathematical evidence, logic diagrams, and problems of semantics. In this paper, he advances a new approach to eristic as an art of protecting oneself from the one who deliberately violates norms of discourse ethics to win an argument. The author attributes the origins of this view to Schopenhauer, suggesting a new reading of his work. According to the author, eristic is a prohibitive technique that takes effect when the norms of discourse ethics are transgressed and violated. Thus, eristic is viewed as a discipline of Enlightenment philosophy and a correlate of discourse ethics. Roshdi Rashed is an authority on the history of Arabic mathematical sciences. Proceeding from Gilles-Gaston Granger’s definition of mathematical style, he studies the question of whether a mathematical work can be characterized by a single style or by a multitude of styles. This question is explored within the style of a single work, namely Menelaus’s Sphaerica, and through the study of the development of a single problem over time, namely the isoperimetric problem. He indicates Menelaus’s divergence from the Euclidean style of (plane and stereometric) geometry caused by the drop of the Parallel Postulate, which associated it with hyperbolic geometry. Hence, the author concludes that Menelaus’s Sphaerica incorporates the well-known Euclidean style with a variation of the non-Euclidean one. On the other hand, examining the isoperimetric problem reveals another interesting historical picture. A succession of different styles (cosmological, geometric, infinitesimalistic, style of the calculus of variations, of synthetic geometry) can be observed due to the transformation of the research object over time. Boris Shalyutin, a Russian social philosopher, and Ombudsman for Human Rights in the Kurgan Region, explores the origins of discourse in combination with the birth of society and law. He claims that legal discourse marks the historical emergence of discourse in general. Homo Juridicus generated Homo Sapiens, which have created new spheres of discourse, notably moral discourse and further philosophical, political, and scientific discourse. Petros Stefaneas, a logician, computer scientist and novelist, suggests an alternative to the traditional narratology approach for studying (interactive) social media discourse. He claims that style describes how the parts of a narrative are blended into a whole. The author relies upon Goguen’s and Harrel’s concept of style as a choice of blending principles and transfers to the study of the social media narratives elements from the methodology of studying Web-based collaborative search for mathematical proofs like those implemented within the Polymath project. The last paper belongs to Ghil‘ad Zuckermann, a linguist, language revivalist, and proponent of a model of the emergence of Israeli Hebrew, according to which Hebrew and Yiddish were the primary sources of Modern Hebrew. This paper explores the fascinating and multifaceted Yiddish language and its survival in Israeli. Yiddish is characterized by a unique style that embeds psycho-ostensive expressions throughout its discourse. The author highlights the cross-fertilization between Hebrew and Yiddish as it manifests itself in any aspect of the Israeli language. He claims that Yiddish survives beneath Israeli phonetics, phonology, discourse, syntax, semantics, lexis, and even morphology, although traditional and institutional linguists have been most reluctant to admit it. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Dante’s Vision and the Circle of KnowledgeAnthony RodaDante’s Vision and the Circle of Knowledge, by Giuseppe Mazzotta; 328 pp. Princeton: Princeton University Press, 1993, $37.50.Future students of Dante, The Divine Comedy, literature, criticism, the history of ideas, theology, philosophy, and many other disciplines will be in permanent debt to Giuseppe Mazzotta for his keen study of Dante’s Vision and the Circle of Knowledge. While tracing the principal streams (...) of Western thought which irrigate Dante’s fertile genius, Mazzotta reconstructs the intellectual topography of Dante’s Europe and show how “l’altissimo poeta” reorders and refines it and arrives at a radical reformulation of the foundation of knowledge in contrast to the standard philosophical and theological currents of the times. This new vision of the foundation of knowledge is the central concern of The Divine Comedy which for Mazzotta provides a world view no less monumental than the synthesis of the classical and Judeo-Christian traditions of Thomas Aquinas. Perhaps, more so, for he argues Dante’s great epic provides not only an alternative epistemology but one which captures much more adequately the human historical experience.Vico’s insights, a thorough familiarity of Dante’s sources and his alert appreciation of the unique treatment these sources receive in the context of “la commedia divina” supply Mazzotta with a theoretical framework for his own brilliant critical, historical, and etymological analyses. He marshals these researches around his overriding concern to show that inherent within the Comedy is the view of “poetry as nothing less than the foundation of all possible knowledge” (p. 3). Dante’s radical claim is designed to provide an account which accords with the educational and intellectual development of the individual within history. Consequently for Mazzotta, Dante’s poetic (metaphorical) mode attempts to reconcile what must have been an intellectual and moral landscape of hopeless contradictory systems and projects. Dante’s poem [End Page 194] provides a vivid survey of the breakdown of human bonds, human projects, and human justice and suggests a corrective that escaped the methods of reason, as well as those of the mystic’s. Since both of these are at bottom antihistorical, they attempted to deny conflict and uncertainty (Dewey’s ultimate traits of experience).The above comments should suggest both the general appeal as well as, and I must emphasize, the high level of scholarship Mazzotta exhibits in his project which is arranged into three parts. The first part (Chapter 1–5) is devoted to “poetry and the arts of language,” and a quick glance at these chapters reveals that it is concerned with that part of the liberal arts called the trivium (grammar, rhetoric, and dialectic). In addition to their educational role, the author examines the role and intricate connections these disciplines have to the central social structures of the times. Consequently, these are not mere sterile academic exercises but serious attempts that show the intimate connections between methods of knowing (discourses) and social structures, especially authority in all of its modes (moral, intellectual, political, etc.). Further, by virtue of this, he shows the need for a reexamination of knowledge which does justice to the lived experiences of the individual and to which the second part (Chapters 6–8) is devoted. Briefly, this means coming to terms with language, memory, imagination, dreams and visions, and that great nightmare, human history. It also invokes the aesthetic (poetic/metaphorical) foundations of all knowledge in contrast to the Cartesian dismissal. The claim, however, enlightening for the Comedy, is controversial as a general tenet and demands will be forthcoming for an evaluation, even though there is much good work in philosophy which lends support to it, e.g., Stephen Pepper’s World Hypotheses, R. G. Collingwood’s The Principles of Art, and Lewis E. Hahn’s A Contextualistic Theory of Perception, etc.In the last part (Chapters 9–11) Mazzotta argues that Dante’s final organizing vision figures the world sub specie ludi. These chapters examine the problems and experiences of order, transgression and exile which for Mazzotta demand a Theologia Ludens whose roots are imbedded deep in Aristotle’s Ethics and expressed by the virtue of eutrapelia, “a... (shrink)

Kaum ein Buch hat so viele und so kontroverse Reaktionen verursacht wie Simone de Beauvoirs "Das Andere Geschlecht". Der Sammelband gibt einen Einblick in die aktuelle internationale Beauvoir-Debatte und die Art und Weise wie das fünfzigjährige Jubiläum des "Anderen Geschlechts" gefeiert wurde. Die Autorinnen versuchen die verschiedenen Grundthemen von Beauvoirs Werk, wie Geschlecht und Körper (D. Lamoureux, M. Couillard, M. L. Femenías), Gleichheit und Differenz (S. Kruks, Y. Raynova, S. Bainbrigge), Ausschluss und Anerkennung (D. Bergoffen, S. Moser), Verantwortung und Engagement (...) (F. Rétif, N. Bauer, K. Arp, Dauphin, C. Gater), aus der Perspektive der Gegenwart neu zu beleuchten. Darüber hinaus enthält der Band biographische (K. Vintges, B. Weisshaupt) und bibliographische Beiträge, die ihn zu einem Nachschlagewerk und zu einer Dokumentation der gegenwärtigen Beauvoirforschung werden lassen. Aus dem Inhalt: Françoise Rétif: Zur Aktualität von Simone de Beauvoir oder die Dialektik des Engagements - Nancy Bauer: First Philosophy, "The Second Sex", and the Third Wave - Debra Bergoffen: Simone de Beauvoir and Jean-Paul Sartre: Woman, Man and the Desire to be God - Elaine Stavro-Pearce: Transgressing Sartre: embodied situated subjects in "The Second Sex" - Susanne Moser: Subjekt und Anerkennung: Zum Problem des Ausschlusses von Frauen und Weiblichkeit im" Anderen Geschlecht" - Diane Lamoureux: Der Paradox des Körpers bei Simone de Beauvoir - Marie Couillard: Die Lesbierin bei Simone de Beauvoir und Nicole Brossard - María Luisa Femenías: Beauvoir revisited: Butler and the "gender" question - Sonia Kruks: Panopticism and Shame: Reading Foucault through Beauvoir - Yvanka B. Raynova: Für eine postmoderne Ethik der Gerechtigkeit: Simone de Beauvoir und Jean-François Lyotard - Kristana Arp: Moral obligation in Simone de Beauvoir's "The Ethics of Ambiguity" - Susan Bainbrigge: The Impact of Simone de Beauvoir's "universel singularisé" on the Politics of Representation and the Representation of Politics - Sandrine Dauphin: From Socialism to radical Feminism: Militant foundations in Simone de Beauvoir's Writings - Claudia Gather: Simone de Beauvoir, eine Klassikerin der feministischen Soziologie? - Karen Vintges: Beauvoir's autobiography: "autofiction" or selftechnique? - Brigitte Weisshaupt: Simone de Beauvoir und Jean-Paul Sartre. Eine Anmerkung - Susanne Moser/Yvanka B. Raynova: "50 Jahre 'Das andere Geschlecht'": Zur internationalen Konferenz in Paris (19.-23.01.1999). (shrink)

In this paper, we examine the case of Ronda Rousey, a high profile female Mixed Martial Arts fighter in the Ultimate Fighting Championship. We argue that Rousey represents a female athlete who can be considered a gender transgressor yet simultaneously a Glamazon. The case of Rousey will be applied to gender transgressor theories to demonstrate that Rousey counters traditional discourse which holds that exhibiting stereotypically masculine traits implies not being an authentic woman. Female fighters face criticisms for being “unfeminine” or (...) “manly” because they participate in such an aggressive sport. Despite her gender divergent behaviour, as much as she transgresses, Rousey is also pinned by sporting and societal sexist culture that reinforces sex binaries and exposes pressures to adhere to hyperfemininity and heterosexual ideals. Finally, using the notions of self and power found in Michel Foucault’s later work as a springboard, we examine whether Rousey’s embrace of the Glamazon identity is an act of autonomy or evidence of false consciousness. (shrink)

This is a fascinating study of the a-temporal nature of evil in the West. The international authors who have contributed to this text not only concentrate on political, social and legally sanctioned cruelty from the past and present, but also explore the nature of moral transgression in contemporary art, media and literature. Although many forms and practices of what might be called evil' are analysed, all are bound by violence and/or the sexually perverse.

Derrida’s Glas can be interpreted against the background of a confrontation with Hegel, after and with Levinas. Derrida’s position in front of the great shadows of tradition (see “Violence and Metaphysics”) becomes in Glas an exceeding of the limits, searching for the other than logos, for instance, remains or writing. Glas is interpreted on the background of Derrida’s reading of Levinas: against the archeologic totality of Hegel’s system, Glas does not oppose nevertheless the eschatological infinity of a metaphysical alterity, but (...) rather the finite infinity of a transgressive desire for contingency. Language, art, and literature, much more than the ethical or religious dimension, are external phenomenological transcendence, against which Hegel’s system of absolute knowledge and Genet’s literary experiments are constantly measured. (shrink)

Kant is often regarded as an extreme retributivist, but recently commentators emphasize the importance of deterrence in Kant's basic justification of punishment. Kant's combination of deterrence and retributive elements, however, must be distinguished from others that are less plausible. To interpret Kant as merely adding retributive side-constraints to a basic deterrence aim fails to capture fully the retributive strain in Kant's thought. The basic questions are: who should be punished, how much, in what manner, and why? Kant held that all (...) and only the legally guilty ought to be punished, the legally guilty being also morally guilty, except when the legal requirement was to do something "immoral in itself." This case aside, violations of law also transgress an ethical duty to obey the law. Criminal punishments should be designed to match victims' empirically discernable losses in degree and kind, except when this would be impossible or degrading; courts cannot measure the ultimate moral desert of criminals, which depends on their inner "will." "Punishment" is not a mere disincentive in a "price" system of social control; it has an inherent expressive function, conveying a public message of moral disapproval of the criminal conduct in question. Understanding this together with Kant's basic theory of justice may help to explain his acceptance of ius talionis and condemnation of making exceptions for pragmatic reasons. It also accounts for the retributive "tone" of Kant's remarks, despite his insistence that public courts deal only with "external actions," not overall moral worth and character assessment. Kant wird oft als Vertreter einer extremen Vergeltungstheorie gesehen. Auf der anderen Seite betonen verschiedene Autoren in der letzten Zeit die Abschreckung als grundlegendes Element in Kants Rechtfertigung der Strafe. Ihnen gegenüber muß Kants Verknüpfung von Vergeltung und Abschreckung von anderen ähnlichen Verknüpfungen unterschieden werden, die weniger plausibel sind. Kant so zu interpretieren, als füge er zum Hauptziel der Abschreckung nur einige nebensächliche Elemente der Vergeltung hinzu, verfehlt den Vergeltungsaspekt in Kants Straftheorie. Die grundlegenden Fragen sind: Wer soll bestraft werden, wie schwer, in welcher Weise und warum? Kant war der Ansicht, daß alle, aber auch nur diejenigen bestraft werden sollen, die sich vor dem juridischen Gesetz schuldig gemacht haben. Wer sich vor dem juridischen Gesetz schuldig gemacht hat, hat sich auch moralisch schuldig gemacht, es sei denn, das vom Recht Geforderte sei etwas "an sich selbst Unmoralisches". Sieht man von diesem letzteren Fall einmal ab, dann enthält jede Übertretung des juridischen Gesetzes immer auch eine Verletzung der ethischen Pflicht, dem juridischen Gesetz zu gehorchen. Strafe sollte darauf angelegt sein, den empirisch erkennbaren Verlusten des Opfers nach Art und Ausmaß zu entsprechen, außer, wenn dies unmöglich oder erniedrigend wäre; Gerichte können die tatsächliche moralische Schuld von Verbrechern, die von ihrem inneren "Willen" abhängt, nicht messen. "Strafe" ist kein bloßes Abschreckungsmittel in einem "Preis"-System sozialer Kontrolle. Statt dessen hat sie die ganz wesentliche und ausdrückliche Funktion, die moralische Mißbilligung des jeweiligen verbrecherischen Verhaltens öffentlich zum Ausdruck zu bringen. Diese Interpretation, zusammen mit Kants grundlegender Theorie der Gerechtigkeit, kann helfen zu verstehen, warum Kant das ius talionis akzeptiert hat und warum er Ausnahmen, die aus pragmatischen Gründen gemacht werden, mißbilligt. Sie erklärt auch den "Tonfall" in Kants Äußerungen, der mir seiner Vergeltungstheorie zusammenhängt, auch wenn Kant darauf beharrt, daß staatliche Gerichte sich immer nur mit "äußeren" Handlungen befassen, nicht mit dem moralischen Wert insgesamt oder mit einer Beurteilung des Charakters einer Person. (shrink)

The very beginning of David Lynch's The Straight Story, the words that introduce the credits, "Walt Disney Presents - A David Lynch Film," provides what is perhaps the best resume of the ethical paradox that marks the end of century: the overlapping of the transgression with the norm. Walt Disney, the brand of the conservative family values, takes under its umbrella David Lynch, the author who epitomizes transgression, bringing to the light the obscene underworld of perverted sex and (...) violence that lurks beneath the respectable surface of our lives. Today, more and more, the cultural-economic apparatus itself, in order to reproduce itself in the market competition conditions, has not only to tolerate, but directly to incite stronger and stronger shocking effects and products. Suffice it to recall recent trends in visual arts: gone are the days when we had simple statues or enframed paintings - what we get now are expositions of frames themselves without paintings, expositions of dead cows and their excrements, videos of the inside of the human body, inclusion of smell into the exposition, etc.etc. Here, again, as in the domain of sexuality, perversion is no longer subversive: the shocking excesses are part of the system itself, the system feeds on them in order to reproduce itself. Perhaps, this is one of the possible definitions of postmodern art as opposed to modernist art: in postmodernism, the transgressive excess loses its shocking value and is fully integrated into the established artistic market. (shrink)

We are capable of engaging in different kinds of relations with objects and situations we meet. Any relation is, in principle singular and thus einmalig, unique. Still, certain general types of relationality do exist. Relations may be established with focus (“attention”) on usability, truth, ethics, power, authenticity—and of course, on “beauty,” on aesthetic value. This differentiation is an invention of the Modern world and in itself subject to historical change. In terms of “discursive areas” it has been theorized in (...) varying keys—including quite many universalist ones. We are free to choose our modes of attention. Still, institutionalized discourses in practice pre-configure these modes. Especially when it comes to art and Modernity’s “great divide” between poiesis and aesthesis, the conditions for attentional approaches appear largely pre-figured. The article discusses this pre-configuration and the institutionalized “freedoms” of art and its audience, respectively—including current calls to abolish such differentiations and to transgress the discursive boundaries of art. (shrink)

The very idea of humanity seems to be in crisis. Born in the ashes of devastation after the slaughter of millions, the liberal conception of humanity imagined a suffering victim in need of salvation. Today, this figure appears less and less capable of galvanizing the political imagination. But without it, how are we to respond to the inhumane violence that overwhelms our political and philosophical registers? How can we make sense of the violence that was carried out in the name (...) of humanism? And how can we develop more ethical relations without becoming parasitic on the pain of others? Through a critical exploration of violence and the sacred, Ecce Humanitas recasts the fall of liberal humanism. Brad Evans offers a rich analysis of the changing nature of sacrificial violence, from its theological origins to the exhaustion of the victim in the contemporary world. He critiques the aestheticization that turns victims into sacred objects, sacrificial figures that demand response, perpetuating a cycle of violence that is seen as natural and inevitable. In novel readings of classic and contemporary works, Evans traces the sacralization of violence as well as art’s potential to incite resistance. Countering the continued annihilation of life, Ecce Humanitas calls for liberating the political imagination from the scene of sacrifice. A new aesthetics provides a form of transgressive witnessing that challenges the ubiquity of violence and allows us to go beyond humanism to imagine a truly liberated humanity. (shrink)

This volume of collected essays brings together conversations, papers, and debates from the Third Annual North American Anarchist Studies Network Conference in San Juan, Puerto Rico. Nathan Jun and Jorell A. Meléndez aspire to go beyond a simple collection of papers and instead aim to maintain a dialogue among different academic fields with the sole task of comprehending and re-thinking anarchist studies. With over twenty-one chapters written by a diverse range of activists, organizers, musicians, artists, poets, and academics, this book (...) transgresses the apparent simplicity of the study of anarchism with a dynamic and interdisciplinary approach that crystallizes and emulates the heterogeneous nature of the anarchist ideal. From theory and philosophy to historical analyses, methodologies, and perspectives, from different manifestations in the arts, media, and culture to religion, ethics, and spirituality, from the intersectionality of animal liberation and queer struggles to contemporary praxis and organizing, the authors explore different topics from a critical perspective that is often lacking in their respective academic fields. This book is a must-buy for critical teachers, students, and activists interested in studying anarchism and the different ways in which we can transform our reality. (shrink)