The Other

Wayne Vucinic Book Prize 2007, "for the most important contribution to Russian, Eurasian, and East European studies in any discipline of the humanities or social sciences." 

Endorsement by Slavoj Zizek:

"Alexei Yurchak's Everything Was Forever, Until It Was No More immediately seduced me by its very title with a profound philosophical implication that eternity is a historical category--things can be eternal for some time. The same spirit of paradox runs through the entire book--it renders in wonderful details the gradual disintegration of the Soviet system from within its ideological and cultural space, making visible all the hypocrisy and misery of this process. I consider Yurchak's book by far the best work about the late epoch of the Soviet Union--it is not just history, but a pleasure to read, a true work of art." (Slavoj Zizek, author of In Defense of Lost Causes)

Abstract:

Soviet socialism was based on paradoxes that were revealed by the peculiar experience of its collapse. To the people who lived in that system the collapse seemed both completely unexpected and completely unsurprising. At the moment of collapse it suddenly became obvious that Soviet life had always seemed simultaneously eternal and stagnating, vigorous and ailing, bleak and full of promise. Although these characteristics may appear mutually exclusive, in fact they were mutually constitutive. This book explores the paradoxes of Soviet life during the period of "late socialism" (1960s-1980s) through the eyes of the last Soviet generation.

בשם האהבה והאחריות:
דברים לזכרו של האב פרופסור מרסל דיבואה במלאת שלושים למותו
מאת נפתלי רוטנברג
דברים שנאמרו ביום עיון שנערך במכון ון ליר בירושלים בסוף יולי 2007 במלאת שלושים לפטירתו  של האב פרופ' מרסל דיבואה.
* פורסם במוסף הספרים של עיתון "הארץ ב- 3.8.07 תחת השם: "פרק חשוב בקבלת האחר" בקישור הזה: https://www.haaretz.co.il/literature/1.1431183
Lecture given at a conference held at the Van Leer Jerusalem Institute in late July 2007, marking the thirtieth day of the passing of Father Professor Marcel-Jacques Dubois by Naftali Rothenberg
* Published in the book supplement of the newspaper "Haaretz" on August 3, 2007 under the name: "An important chapter in the acceptance of the other" at this link: https://www.haaretz.co.il/literature/1.1431183

.  The problems of irreducibility, untranslatability, non-generalized existence of language are there as there persists always something irreducible in the interactions between the self and the other. Considering the Bengali society, perspectivally deliberated through the intellectual lenses of the bourgeois, the self-culture predicates the normative paradigm that structures what should and what should not constitute the essential with regard to socio-political identity. The conflictual cultural implication opposes whatever is non-standard and heterogeneous. Even within the group, the notion of the ‘other-self’ segregates the cultural variants that are marginalized as non-standard and imperfect.

Após uma tragédia familiar e a situação política insegura na Índia,a família Kadam, em que a paixão pela cozinha é partilhada por todos os seus membros, decide emigrar, primeiro para a Inglaterra, onde consegue ter uma casa modesta junto do aeroporto de Hithrow. Dado o barulho e o clima pouco propício para o sabor dos legumes, a família opta por continur o caminho. Tendo-se perdido numa aldeia no Sul da França, deduzem que não há coincidências e abrem um típico restaurante indiano, barulhento, pouco higiénico para as condições europeias, repleto de cheiros e sabores exóticos. O problema é que apenas a cem passos de distância já existe um restaurante francês de alta categoria, com a clientela já habituda à qualidade e estilo sofisticado. É então que começa a guerra não apenas entre os donod de dois restaurantes, o indiano viúvo e a antipática e inacessível francesa, como também guerra entre culturas, entre os "autóctones" e os "intrusos", levantando questões da imigração, racismo, tolerância, adaptação às novas culturas, tradição e contactos interculturais. Hassan al Kadam, o jovem cozinheiro indiano compreende a necessidade de manter a sua cultura de origem, aceitando o que considera bom e útil na cultura do seu país de acolhimento. Nisso, é ajudado pela jovem ajudante de cozinha no restaurante francês de luxo,por quem chega a apaixonar-se.
Muito mais do que um filme sobre a cozinha, cheiros, sabores e amor, "A Viagem dos Cem Passos" é uma história sobe o autoconhecimento, o Outro, a amizade e a não discriminação.

This article contributes to the studies of living human exhibitions in Eastern Europe or, more precisely, in Polish territory in the late partition period. The article intends to demonstrate the strategies of presenting Black African women in Warsaw, Cracow, and Poznań. The idea of construing the view has been used as a key concept to look into the processes of the sexualization and racialization of the Others' female bodies and the construction of "savagery" in the context of nineteenth-century visual culture.

Abstract
The paper aims at analyzing the representation of social activities (that include trade and leisure, dance and sport) during the Great Tang Dynasty (618-907 CE) from a prism of interpreting the intangible through tangible. Based on interdisciplinary approach, methodologically it addresses the concept of the “Other” as discussed through interlinks between imperial China and the other world (mostly represented by cultures of neighboring Turks and Iranians/Sogdians).
It is argued that the representation of “Us” and the “Other” was two-folded. On the one hand, it followed the general dividing lines of this concept, thus representing the “Other” through rather strict categorization (what could be traced in the depiction of the features of the “foreigners” – mostly Sogdian traders).
On the other hand, the representation reflected the general context and specificity of time as well, marked by intensive trade and fertilizing cross-cultural encounters along the Silk Road. The latter has been vividly and succinctly expressed in magnificent artistic representation of the idea of connectivity - movement, process, action and pause, thus leading towards establishing links and melting the barriers between “Us” and the “Other”.
The paper addresses these issues while discussing beautiful and impressive terracotta/ terre cuite figures from the collections of the Musee Nationale des Arts Asiatiques (Musee Guimet), National Museum of India and National Museum of China.

What is Truth? Philosophical explorations merely presuppose truth, rather than define it. The inscrutable nature of truth enables a recognition of human finitude, which is both Socratic (the recognition that one does not know) and non-Socratic (the recognition that truth has to be given from without). This opens the way to locating truth outside the individual, which can be appropriated only when the condition to recognize it is given....This book explores what truth implies for the individual and examines the value of historical research for Christian faith.

Seksenli yılları yorgun karşılayan Türkiye, feminizmin filizlendiği bir ülkedir artık. Söylem kendine sinemada da yer bulacaktır elbet. Öteki’nin sinema perdesinde kurgulanışı şiddet ve tecavüz anlatısıyla irdelenmeye başlar bu yıllarda. Geçmiş dönemin Metin Erksan filmlerinin bu sorunsalı dillendirişinde olduğu gibi, Atıf Yılmaz Müjde Ar’la haykırır kadının ‘öteki’liliğini. Türkan Şoray’ın Müjde Ar için ‘cesur girişimiyle bize öncü oldu’ demeci anılarını kaleme aldığı kitabında ölümsüzleşir. Sanatçı, soyadının çağrıştırdığı bir Kartal Tibet filminde,’ İffet’ karakterine hayat verir. ‘İffet’ feminist söylemin Türkiye’de yeni oluşu gibi; ‘öteki’ni şiddetin merkezine oturtur ancak popüler sinemanın kurbanı olmaktan da kurtulamaz. Ataerkil ideolojiyi vurgulayışı ve cinsel meta olarak kadını sunumuyla ‘İffet’ filmi, çalışmanın inceleme nesnesini oluşturmaktadır. Filmin anlatısı feminist çözümleme yöntemiyle irdelenmiştir.

The present catalogue text discerns between two kinds of eco-centric works the Austrian artist Herwig Scherabon presented in his latest solo exhibition “Against Nature“ (July 2021, Berlin Neukölln): landscapist and objectivist. Whereas Herwig's landscapist works are both nets-of and knots-in, and thus ontology-wise rather conventional; his objectivist works are ontologically most striking as they exclusively are nets, but no knots. For this reason, they are focused on here. The artist conjures these singular existences by means of black space that is isolating, yet not weakening, but rather empowering, even “monstrouizing“ them. In so existing, they emit an ontologically provocative statement: Distance is not debilitating, but rather an invitation to become.

In this paper I examine and present the role that cultural
interrogation can, and needs, to play in a contemporary design program. I make the case for an educational environment that interrogates and uses culture as a both an internalizing and externalizing focus. The integration of a cultural focus in design pedagogy creates opportunities for students to work with and design for the Other, and this empowers students to question, define, communicate, and design in and for their own culture. Projects are presented and analyzed—from a collaborative cultural identity brief that paired together North American and Asian design students to a study-abroad course where students had the opportunity of working with designers, design educators and design students while living in another culture.

Through the vehicle of Nicolas Sarkozy’s so-called “Dakar Address,” we will analyze the West’s persisting lack of insight into the need for Western decolonization. We will attempt to identify the dangers that come from this refusal, such as the continued adherence to colonial patterns, the enduring self-understanding as being superior compared to Africa, and the persisting unwillingness to accept colonial guilt. Decolonization must be understood as a two-fold business. Decolonization means overcoming endured and perpetrated violence. It is not only important that the colonially oppressed regain strength, it is equally important that the perpetrators of colonial violence understand their excess of violence and work on rendering its return impossible. We explain how Western thinking remains dangerous and untrustworthy if it rejects its own decolonization. Finally, we will draw attention to a fundamental pattern of Western thought that clashes with the fundamental values of the West: contempt. In a final step, we suggest how this contempt can be overcome through desuperiorization and the establishment of elative ethics.

After the World War II, the world remarks many changes in every aspect including culture, society, literature and so on. Writers around the world wrote about the effect of colonizer/colonized relationship. Edward Said is one of the pillars who deals with such discourse. Said believes that the legacy of the colonizer still exists in terms of civil wars, corruption and labor exploitation. In other word, Said means that the West creates a wrong image about the Orient and considers it as the "Other" in contrast to the ideal West. Said was the one who deconstructs the western's thinking about the East. So his books : Orientalism (1978), The Question of Palestine (1979) and Covering Islam (1981) are appropriate to examine the idea of the 'Other' and to show how Said decipher the western wrong image about the East. Thus, this paper will emphasis on the concept of the Other according to Said. Keyword: The Other, The East, The West, Postcolonial.

Remarked from her very first book, Voica (published in 1924), and up to her last novel Le Témoin de l’éternité, printed first in France in 1975 and translated into Romanian in 1995, Henriette Yvonne Stahl turned from a promising female writer into a unique voice in the inter-and post-war literary life in Romania.
Starting from Rimbaud’s illuminating pensée “Love has to be reinvented” (Felman 2007: 5), this paper aims to explore the identity of females in My Brother, the Man, drawing on identity and trauma as devised by Penny Brown (1992), Cathy Caruth (1995 and 1996), Shoshana Felman and Dori Laub (1992). In addition, the mixture of memory and narrative covers types of talk fiction (Kakandes 2005), the shift of focus from the subject of remembrance to the mode it takes place (Anne Whitehead 2009), and Beata Piątek who looks at how narratives impact readers (2014). Are the main characters engulfed in a dense life texture able to explore their personal dilemmas, difficult choices and detach from the flux of their own passions and desires? Or are they going to fall victims to their own inability of understanding the meaning of life, paralleled by the lack of vision and humanity manifested by secondary characters? Both male and female characters display a dominant profile, their actions and inner voices are marked by subtle or abrupt shifts, meant to stimulate a noticeable response from those they love or hate. The omniscient narrator employs a vast repertoire of techniques, meant to nuance egos and changes, moving from a classically-structured narrative to a detective story supporting inner monologues and deepened psychological impasses, occasionally bringing fictional personae closer to realist and existentialist fiction.

Levinas' philosophical project is dedicated to the thought of non-violent relationships between people as the way to achieve goodness. Meeting the other person, one is always responsible for him. A personal caring relationship is at the core of this ethic. But in Leninas' later writings, there is a self-sacrificial turning point, and the language towards the subject who must substitute himself or herself for the other becomes violent. Is such violence to the self, capable of preserving goodness? From a common concern with goodness, defined as a personal caring relationship, care ethics preserves subjectivity, and thus avoids the self-sacrificial turning point. The caring relationship is based on the assumption that every person is vulnerable and dependent on others, including the self. Care ethics is non-violent. Taking this thought one step further, political institutions must be influenced by care ethics, and by its assumption of vulnerability as a universal aspect of the human condition, in order to avoid any type of violence, to nurture goodness.

The focus of action in the East Anglian Croxton Play of the Sacrament is a consecrated communion wafer, the host. Aristorius, a Christian merchant, steals a consecrated host from a church. He sells it to a group of Jewish merchants (who instigated the theft) as they wish to use the host to disprove the dogma of transubstantiation. The Jewish characters subject the host to several tests which parallel the Passion in various ways. In the process, one of the Jewish characters (Jonathas) is injured. A vision of the Christ-child appears and addresses them. They repent their sins and Jonathas is miraculously healed. As a result, they convert to Christianity. Aristorius confesses his sacrilegious theft and the host is returned to its rightful place in the local church: a happy ending for all, in medieval Christian terms.
This article argues that in the Croxton Play of the Sacrament, the Christian playwright enacts a ritual of transgression (and thus of impurity) that neutralises the threat of religious heterodoxy. Making use of a dramatic representation of imaginary Jewish characters, the playwright ponders the nature of the doctrine of transubstantiation, and possible Christian doubts and anxieties concerning it at a safe remove. The Christian thus uses a representation of a Jewish Other to consider the divine Other, thereby crossing social and spiritual boundaries, while Christ may also be perceived as reaching out to the human Other by transgressing limits.

ÖZ Çağdaş Yunan Edebiyatı, 1821'den bugüne hem kendine özgü geleneksel unsurları korumuş hem de tüm dünyada, özellikle batıda, yer alan edebi eğilimleri takip ederek otantik bir edebiyat üretmiştir. Çağdaş Yunan Edebiyatı, aynı zamanda, Yunanistan'ı etkileyen sosyal, kültürel ve tarihi olayları hem düzyazıda hem de şiirde ana unsur olarak işlemiştir. Bu tarihi olaylardan biri de tüm dünyayı etkileyen II. Dünya Savaşı ve hemen ardından Yunanistan'da yaşanan işgal, işgale direniş, kıtlık ve iç savaşı beraberinde getiren olaylar zinciridir. Bu çalışma bu olaylar ekseninde, Raraou isimli karakterin kendi hayatını anlattığı Pavlos Matesis'e ait Dilsizin Kızı isimli eseri incelenerek hazırlanmıştır. Eserde yer alan postmodernist nitelikler incelenmiş, milliyetçilik ve öteki kavramları irdelenmiştir. Bu bağlamda, tarihsel " öteki " " Türk " Çağdaş Yunan edebiyatında yerini korurken, II. Dünya Savaşı sürecinde ve sonrasında meydana gelen olaylar nedeniyle öteki kavramının değiştiği ortaya konulmuştur. Bununla birlikte milliyetçilik kavramının sorunsallaştırılarak, okuyucuyu sorgulamaya yönelttiği söylenebilir. Çağdaş Yunan Edebiyatının, kendi geleneğini devam ettirirken, dünya edebiyatındaki eğilimleri takip ettiği görülmüş. Açık bir biçimde, Matesis'in bu eserde postmodernist nitelikleri geleneksel düzyazıyla harmanlayarak özgün bir eser verdiği görülmüştür. ABSTRACT Modern Greek literature, by both preserving its traditional elements and following world literary trends, especially those from the West, has fabricated an authentic literature since 1821. Modern Greek literature has discussed social, cultural and historical events that have affected Greece, as an element in literary works as both prose and poetry. One of these historical events is World War II, this affected the whole world and launched an immediate chain of events such as the Italian occupation and resistance to the occupation, as well as the famine and civil war in Greece. This study was prepared by examining Dilsizin Kızı (The Daughter) by Pavlos Matesis, in which the protagonist Raraou tells the story of her own life in the axis of these historical events. The post-modernist elements of the work have been analyzed and the notions of nationalism and 'the other' have been scrutinized. Within this context, it is revealed that while 'Turk' preserved its place as the historical 'the other' in Modern Greek literature, the concept of the other changed as a result of the events that occurred during and after World War II. In addition, it can be said that the work prompts the reader to question the notion of nationalism by problematizing it. It has been found that Modern Greek literature, while continuing the tradition, followed trends in world literature. Matesis created a unique work by combining post-modernist elements with traditional Greek prose.

For Europeans the Orient was invariably a considerable source of artistic
creativity, in which depictions of women holds significant position, constituting
a popular topic. Remarkably, those were stereotypical views and commercial
factors which happened to be rather fundamental in the process of popularization
of the image of Turkish women in Ottoman times. The myth created in the West
to represent an Eastern woman, brought pictures of women in harem, as slaves,
occupied with their everyday activities or while taking Turkish bath. The reality was
not necessarily adequate to the prototypes of Turkish women that paintings claimed
to depict, yet highly promoting the subject’s different substantiality. The time resulted
in disassembling of myth created by men through endeavors of women, yet giving
many British, German, French, Italian, Polish and Russian artists a hectic chance
to create outstanding masterpieces, allowing dealers to earn considerable amount of
profit, acquiring layers of magical myth and vanishing inevitably with the intensified advent of modernism.

บทความวิจัยน้ีต้องการสะท้อนปัญหาของความเป็นสารัตถะของอัตลักษณ์โดยไม่ต่อต้าน การยึดถืออัตลักษณ์เป็นสารัตถะของประชาชน แต่ผู้เขียนต้องการนําาเสนอแนวทางการเข้าถึงความ ซับซ้อนและลึกซึ้งของการสร้างและรักษาอัตลักษณ์ ผ่านความกังวลและความเจ็บปวดจากความด้อยสามารถในการครองอัตลักษณ์เอาไว้ได้ อันมาจากการระลึกถึงความปรารถนาและแรงบันดาลใจที่มี ต่อ ภาษา เชื้อชาตินิยม ชาติและชาตินิยม ชาติพันธุ์ ความเป็นชายขอบ การถูกกดขี่เพื่อสลายอัตลักษณ์จากผู้ปกครองอาณานิคม เหมือนว่าตนเองกําาลังจะพ่ายแพ้ และอยู่ระหว่างทางเดินที่มุ่งไปสู่ความล่มสลาย ผู้เขียนเสนอให้ทําความเข้าใจต่อประชาชนในความเพ้อฝันในสิ่งที่ครองไว้ไม่ได้ ซึ่ง ไม่ใช่เพียงแค่ความเปลี่ยนแปลง ความผันแปร ความหลากหลาย ความลื่นไหล ความสับสน และไร้ ระเบียบของอัตลักษณ์ไมใช่ที่กล่าวมาทั้งหมดนั้น แต่เข้าถึงใจกลางของปัญหาของการสร้างและนิยาม อัตลักษณ์จากการแบ่งแยกความแตกต่าง การทอนตัวเอง เพื่อค้นหาอัตลักษณ์ที่ดําารงอยู่ในลักษณะ สันโดษ การอธิบายอัตลักษณ์ คือ ‘การประดิษฐ์ตัวเอง เลียนแบบตัวเองโดยไม่สามารถเข้าถึงได้ จากตรรกะที่ขัดแย้งในตัวเอง...

This project explores perceptual differences between the separate genders of choristers within the cathedral system of the Church of England and to ground such perceptual differences in their historical, social, political and religious perspectives and backgrounds. It also looks at this through the lens of feminist theory and philosophy and is aligned with factual research in the tangible anatomical, physiological and acoustic variants in male and female cathedral chorister voices. It discovers that perceptions of the differences, similarities and
preference of separate voice genders are influenced by history, society and religion, despite acoustic evidence to the contrary.

In the realm of Shakespearean drama, Othello, the Moor of Venice offers a prime example of racial Otherness. Demarcated primarily in Othello’s identity transformation over the course of the play, this Otherness is reinforced through the motifs of bestiality and witchcraft notable in other characters’ references to “the Moor.” While some may interpret Othello's moral degradation as an attempt to reinforce negative black stereotypes, a closer analysis suggests Shakespeare is not so much reinforcing racial Otherness as critiquing it. Take Othello’s myriad misdemeanors for example. Shakespeare makes clear they were driven, not by any sort of inherent inferiority or flaw on Othello’s account, but by the manipulations of a prejudiced, white antagonist lacking a clear moral compass. Furthermore, Othello’s ultimate redemption and return to integrity at the end of the play paints him more as a victim of racism rather than morally inferior. For a truly morally inferior character would not be permitted to achieve that kind of redemption. On many accounts, Othello’s immoral actions and negative qualities can be seen, not as a result of innate flaws, but rather a response to pressures and insecurities cultivated by a racist society. In this light, the associations to bestiality and witchcraft are not seen as Shakespeare's attempt to paint Othello as inferior, but to make a statement about larger racist forces at work within a flawed system.

A subaltern's voice is always subsumed because they lack the discursive power. The paper aims to outline how Dr. Indira Goswami projects the fictitious characters in her novel with a bold voice that revolts with diverse behavioural patterns like intricate actions, revolutionary manifestations, rebellion, violence and blatant expressions. Silence takes the form of powerful resistance. Taking in cue the theory of post colonialism, the study branches to the theory of the "other‟ and further to the concept of voice. The study delves upon the concept of "voice‟ as a tool for resistance manifesting in myriad forms. It analyses the development of a subaltern woman transforming into a "new‟ woman who is strong, bold and articulate. Notwithstanding the total submissiveness of Durga and Saru Gossainnee, the silent rebel, Giribala, the "voice‟ of the novel poses a recalcitrant attitude to the rules, conventions, and taboos prevalent in the sattra. She is a new "voice‟, the voice of dissent for the subaltern who is never heard. The study traces the evidence of "voice‟ in Giribala with an objective to be "heard‟.

KEYWORDS: Subaltern, Voice, Post colonialism, Other, Resistance, Rebellion, Identities, Silence, Non Representer, Political And Aesthetic Representation

This paper looks at the ways in which English authors writing in different historical periods in Morocco have constructed a division between the 'Self' and the 'Other' in their work. It also challenges the traditional definition of normativity provided by these authors along with its negative undertones and thus problematizes the traditional conceptualization of both the understanding of the "other" and the concerns with otherness. Additionally, it seeks to reveal how these English writers defined the Moroccan identity. And finally, it shows how each of these writers arrived at their own understanding of the Moroccan "self" through the construction of a contrasting "Other".

Difference, diversity and variation among human beings, both as individuals and groups, and hence, the presence of the different Other together with the Self have always been one of the main expressions and ramifications of the original identity and essential unity of the human species. Unity in diversity, or vice versa, is one of the wonders of the creation exemplified in the creature that has been given pre-eminence and glory in the cosmos as God’s trustee and vicegerent on earth. Whatever the manifestations of difference and forms of diversity and plurality obtaining in and among human societies might be, they in no way obliterate human original identity and essential unity emanating from a God-fashioned original nature or fitrah.

Więcej w książce: https://tiny.pl/ddqr8
Artykuł przedstawia etyczny wymiar refleksji filozoficznej Gabriela Marcela. Na tle szeregu obecnych w niej kategorii (m.in. próba, zdrada, wspólnota, ofiara, obecność, rozporządzalność, intersubiektywność, miłość) zostaje ona określona mianem heterocentrycznej. Pojęcie to, zaczerpnięte z pism samego Marcela, znajduje tu zastosowanie w celu odróżnienia od ugruntowanych już w literaturze przedmiotu, ale dotyczących zwłaszcza koncepcji późniejszych, nazw w rodzaju „filozofia innego” czy „dialektyka tożsamości i różnicy”; w ogólności dotyczy postawy zwrócenia się ku temu, co inne, które zarazem prowadzi do wewnętrznego samoodzyskania. Przed znajdującym się w drodze człowiekiem stoi zadanie odpowiedzi na wezwanie płynące zarówno z jego wnętrza, jak i z czegoś poza; ostatecznie jego celem staje się, by umocować własne istnienie w głębi rzeczywistości, która je przekracza. Wskazane przy tym zostaje, że etyka Marcela nie unika ontologii, a odpowiedź na pytanie o to, jak żyć, jest nierozerwalnie złączona z refleksją nad byciem.

(słowa kluczowe pod tekstem pochodzą od redakcji)

In recent years, the popularity of Pocahontas chic – fashion inspired by traditional Native American dress – has sparked significant controversy and even legal action. In February 2012, the Navajo Nation sued Urban Outfitters Inc for alleged copyright infringement and violation of the Indian Arts and Crafts Act of 1990. Native American activists and allies have successfully made use of social media to incite boycotts against style icons and retailers participating in the trend. Among the most frequently critiqued for their flagrant appropriation of indigenous and other non-white cultures are individuals associated with the contemporary hipster subculture. This chapter examines Native American imagery within hipster fashion through a post-Marxists and post-colonialist framework. In an effort to contextualise the topic, it will begin with a brief survey of recent literature on the oft-debated definition and sociological significance of the hipster. By building on the groundwork of Philip J. Deloria and bell hooks, I will explore how this demographic uses and consumes Native American imagery in an attempt to manifest revolutionary identities and assuage white imperialist guilt. Through Dick Hebdige’s semiotic analyses of 1970s punk rock culture, I hope to bring closer examination to how hipster style perpetuates hegemonic ideologies about race, conquest and Otherness, despite and sometimes because of its counterculture aesthetic.

Resumo:
Esta comunicação pretende dar uma possível visão crítica do problema de amor condicionado pelas diferenças sociais, educacionais, raciais e outras entre os seus protagonistas, um gato malhado, que no início é antissocial e tem má fama entre os animais do parque e uma andorinha sinhá, para a qual já pelo nome se pode deduzir que é de uma boa família, gentil e educada. Abordaremos o tema do amor contrariado da perspetiva do cliché e da diferença, tocando no assunto das relações humanas convenções sociais etc.
Palavras-chave: amor, preconceito, diferença, injustiça, ordem estabelecida
Abstract:
This paper pretends to offer a possible critical vision of love conditioned by social, educational, racial and other differences between its protagonists, a tabby cat, initially antisocial and whose fame among the animals in the park is bad, and a young lady swallow, who only by her name can be deduced to be from a good family, gentle and polite. We will approach the topic of  thwarted love from the perspective of  cliché and difference, touching a little bit the matter of human relations, social conventions etc.
Keywords: love, prejudice, difference, injustice, established order

From 1800s to 1920s, there had been a massive immigration from many parts of the world to United States. During mid-1800s, large numbers of Asians, especially Chinese immigrated to States leading to anxieties about declining labor wages and white race purity.
In 1882, Chinese Exclusion Act passed and banned the immigration of Chinese laborars to United States. America has always been known to be a country of immigrate due to its acceptance of large numbers of immigrants throughout its history. It is not hard to imagine that the immigrants, as it would be in many other countries, are not always welcomed in where they immigrate. The idea of “other” and the concept of race make life harder for outsiders everywhere. The reflections of such ideas like other and race is reflected in literature as well as in daily life. From most praised poems to most innocent short stories these reflections may be right there, but they might not always be obvious or be easy to catch for a reader unless that reader is a reader like Susan S. Lanser.

Introduction

                In this paper, it will be discussed whether the Gothic characteristics are displayed in the piece of fiction called Frankenstein; or, the Modern Prometheus. As David Punter describes, “When thinking of the Gothic novel, a set of characteristics springs readily to mind: an emphasis on portraying the terrifying, a common insistence on archaic settings, a prominent use of the supernatural, the presence of highly stereotyped characters and the attempt to deploy and perfect techniques of literary suspense are the most significant.” (Punter 1)  The aim of the analysis is to discover if the different Gothic conventions are present in the novel and how they are featured, as well as the exploration of different topics of importance for the analysis of the novel.  In order to explore the Gothic in the novel, five topics will be considered in detail. The first topic will be  Nature and the Sublime, the second one will be Industrialization vs Nature, then the concept of Alienation will be also analyzed, the fourth topic will be The monster as the Other and lastly, Traditional Gothic elements in the story will be examined.  To fulfil this objective, ideas presented by authors such as David Punter, Ronald Carter , Proshanta Sarkar, Kelly Hurley and Michael Gamer will be considered. Some information about the author and the novel can be found below.

The paper analyses M. Seel’s aesthetic theory in connection with the problem of the content of aesthetic experience and the tendencies for its reexamination in contemporary aesthetics. We demonstrate that Seel’s „aesthetics of appearing“, being an important aesthetic study of the recent years, makes a substantial contribution to aesthetic theory as it expands the content of aesthetic experience and reveals its independence from the domain of art. The comprehension of aesthetic perception as a special attitude of perception, potentially applicable to any content accessible for sensual perception, is understood as the pivotal moment of Seel’s aesthetics. However, we conclude that the formula that Seel puts in practice to outline the mode of aesthetic experience – that it is the perception of anything in the process of its appearing for the sake of this appearing – proves to be seriously narrowing the content of aesthetic experience. As the mode of a radical focus on the perceived phenomena and initiation of the potentially infinite play of appearances, aesthetic experience, as described by Seel, proves to be closed on itself and self-sufficient. In this regard, analysing Seel’s aesthetic conception, we address the cultural and historical context, where aesthetic experience has emerged as a special register of experience. It is demonstrated that aesthetic experience as such has become possible in the Modern Age due to the formation of the truth of subjective perception and the shaping of the problem of the Other. It is this problematic state of the possible encounter with the Other that should be reckoned a principal trait of the Modern Age outlook, implicitly provoking the response of aesthetic experience. In this regard, we conclude that the essential characteristic of an aesthetic experience should presuppose both the immersion in the liberated and potentially infinite interplay of appearances and multifarious – potentially infinite – acts of search for the Other, so that both of these aspects appear to be inextricably linked.

Martin Seel’s “Aesthetics of Appearing” and the Problem of the Content of Aesthetic Experience // Proceedings of the 21st International Congress of Aesthetics 2019. Belgrade, University of Belgrade – Faculty of Architecture, 2019. pp. 712-717.

Embodying ecocriticism’s basic ecological commitments, postcolonial ecocriticism has expanded the postcolonial foci towards more nuanced explorations of ecological conditions, ecological others, and environmental injustices in postcolonial cultures.It signals the commingling of postcolonial and ecocritical issues as a means of contesting ecological imperialism, biocolonization, environmental and social injustice, and environmental racism, speciesism, and anthropocentricism –matters of concern that are always intrinsically interwoven. This postcolonial ecocritical framework is important in understanding ecological otherness, which I analyze in the form of toxic bodies in this chapter. What perpetuates this form of othering are the dangerous material agencies (such as toxins, chemicals, and pharmaceuticals) that infiltrate bodies and make them permeable and vulnerable.

This thesis is dedicated to the cinema art of Kira Muratova with the focus on the theme of grotesque. Kira Muratova shot films of different genres; mixing styles, creating a new reality of cinema, mixing audio-visualization of people with animals, classical literature with slang, including photography and pornography, installation, performance, opera and ballet. Due to this fact, her films provide rich objects of research in Visual Culture Studies. This study is concerned with the audio-visual effects, images and scenes connected to the theme of grotesque in the auteur cinema of Kira Muratova.

Deliberately departing from the possible socio-historical context, the author of the project presents intertextuality of Muratova's film.This thesis includes a detailed analysis of images and shots of several films with a focus on grotesque and along with general description of the director’s main devices. It searches for meanings, denotations and connotations in the films’ images as the essential elements of the films. In addition to an overview of the whole art of director and auteur features, the project deals in more details with two recent films by Muratova— Two in One (2006) and Melody for a Street Organ (2009). Both films are examples of post-modern cinema, and represent ironically, controversially, abruptly, painfully, but truthfully, many important cultural and philosophical issues and essences: arts, man and his place in the world, his relation to other living beings. Semiotics, auteur theory, other theories of film studies, linguistics and psychoanalysis in their postmodern appearances have been applied to the analysis of Kira Muratova's film.

In his Cartesian Meditations (1929), Edmund Husserl proposes a monadological solution to the epistemological problem of transcendental solipsism. At the basis of intersubjectivity lies the lived body (Leib). After the famous bracketing of the empirical validity of experience, Leibniz is invoked for a second reduction, meant to determine the sphere of appurtenances that originally belongs to each subject and that accounts for communication with the Other. Husserl thus grounds the constitutive lifeworld in body integrity and possessive individualism, i.e. the ontological distribution of physical properties based on the identity of self-consciousness.
By contrast, Deleuze in The Fold. Leibniz and the Baroque (1988) discovers in Leibniz a “crisis of property” that reflects the first great crisis of capitalism. Unlike Husserl, who raises the organic intentionalities by which humans are inserted into the world to a transcendental level, Leibniz never managed to find a final solution to the problem of the union of body and soul, precisely because he held the body itself to be a world teeming with non-human others. The problem of the Other refers to a micropolitics of mobile and non-localizable captures rather than individual closures, such that intersubjective monadology is inseparable from an animal monadology with its twin components of animism and totemism.
In my contribution I demonstrate how Leibniz’s metaphysical account of composite substances and its 20th century ramifications could contribute to a contemporary yet non-phenomenological understanding of the transindividual constitution of communities. By contrasting Deleuze’s later reading of Leibniz with Balibar’s critique of Leibniz, I demonstrate how the monstruous animality of the baroque socius remains a possibility endemic to the present.

Bu çalışmada, Levinas’ın düşüncesini etkileyen felsefi ve dini kaynakların
yanısıra hem onun düşüncesini daha iyi anlamamızı sağlayan temel kavram ve sorunları
hem de ilk felsefe olarak etik anlayışını ve ahlâk siyaset ilişkisini inceledik.
Levinas felsefesinin özü, Başka insanın hümanizmidir. Levinas kendi felsefesini
istencin özgürlüğünden daha eski olan bir özgürlüğe kapı aralama çabası olarak
tanımlar. Böyle bir felsefe değerler üzerinden ya da daha doğrusu etik üzerinden yapılır.
Levinas, etik’i ontolojiden ayrıştırıp onu felsefenin sıradan bir disiplini olmaktan
çıkarır. Böylece etik tüm felsefenin kendinde temellendiği bir ilk felsefe haline gelir.
Ona göre etik, başka(sı) ile ‘karşılaşma’ ya da başkasını ‘buyur ediş’tir. Bu etik,
‘kendi’ni başkasına feda etme ya da ‘kendi’ni başka herkesten daha suçlu ve sorumlu
görme esasına dayanan bir etik olarak karşımıza çıkar. Bu nedenle etik, başkasıyla
ilişkidir ve etiğin anlamı başkasına karşı sorumluluk çerçevesinde ortaya konulur.
Dolayısıyla etik bir ilişki, birinden faydalanmayı değil kendini birisi için yararlı hale
getirmeyi içerir. Levinas’ta etiğin başkasıyla ilişki olarak görülmesi sosyalliktir ve ona
göre dünyada üç kişi olduğu anda, başkasıyla kurulan ahlâki ilişki siyasi bir nitelik
kazanır.