Explores both the place and displacement of humanistic psychology within institutional contexts ranging from private liberal arts colleges to professional organizations like the American Psychological Association. First, from the perspective of social constructionism, we present the function and marginalization of humanistic psychologists within American academic psychology. Next we consider, from the perspective of A. Schutz's social phenomenology, humanistic psychology's place within academic psychology as "the stranger," both in terms of the fundamental incongruence of "traditional" versus "humanistic" psychological relevance systems and (...) the resulting breakdown of the "interchangeability of standpoints" that normally allows for contemporaries to communicate. The specific nature of these conflicts is then elaborated with reference to M. Heidegger's analysis of the concept of time. 2012 APA, all rights reserved). (shrink)

By taking into account dissident/political and art historical interpretations of Soviet art, I analyze how polemics about totalitarianism in the West, which generally corresponded with Cold War debates and Eastern European dissident thought, shaped the post-Soviet evaluations of national artistic legacies. It is argued that the political relationship with the totalitarian past, like in many post-socialist areas where the immediate past was subjected to radical re-evaluation, affected Lithuanian artists’ and critics’ attitude towards local Soviet art. Because of an (...) obvious lack of underground art in Soviet Lithuania, however, the retrospective usage of political categories here became problematic. Especially in international representations, the complexities of artists’ relationship with officialdom came to be routinely assigned to the phenomenon of non-conformism; this eventually obfuscated the differences between the Lithuanian Soviet art context as somewhat different from the Russian case. (shrink)

A well-established idea is that the powerless, even when they are angered by the relations of domination or their consequences, do not display this anger for fear of negative sanctions. Although in the first part of his Domination and the Arts of ResistanceJames Scott elaborates this idea in a creative manner, he challenges it in the second part of his book. He proposes that when autonomous spaces emerge in the systems of absolute domination, the powerless use them to develop their (...) own cultures of solidarity and dissent. These make it highly probable that the long-suppressed anger, rather than just simmering, will one day explode in the face of the oppressor with a satisfying full blast. In this article I use mostly Central European material to argue against Scott’s unorthodox view. I line up evidence in support of the thesis that, even where there are autonomous spaces and cultures of dissent, citizens display apathy and protesters start out with much anxiety and caution, afraid to provoke the anger of the powerful. Fear of repression and the wish to dilute one’s own and the onlookers’ anxiety, I argue, account for why, in this region after 1980, protest assumed ever more ambivalent, satirical and carnivalesque forms. Not anger, but rather a mixture of fear and hope – the latter propagated by the leading ÈmigrÈ and domestic dissidents – dictated the display of such emotions as anxiety, but also sorrow or joy. (shrink)

It is not well known that in the context of the unofficial artistic and philosophical scene of the ČSSR there was an aesthetically refined and theoretically differentiated reflection on the different degrees and limits of visibility as well as a rethinking of participation – be it aesthetic, epistemic or political. In this paper I first investigate the relation between history and (in)visibility in its broadest sense: questions such as ‘whose history is present’ and ‘what visual memory building strategies are used’ (...) were highly controversial and deeply politicised. For many artists and philosophers such as Zorka Ságlová or Jan Patočka the very act of remembering and the active, critical engagement with (visual) culture and history thus became an act of resistance. I then explore how artists subtly intervened in and transformed the monitored public space, and often tried to undermine given regimes of visibility. I demonstrate that these manifold ‘dissident’ practices engendered new aesthetic experiences and fostered powerful counter-narratives that deconstructed the official propaganda discourse of the communist regime. (shrink)

This paper examines the current interest in ‘art activism’, and the relationship between artistic expression and civil disobedience. Boris Groys has argued that the lack of political dissidence within contemporary art is not down to the ineffectiveness of the aesthetic, but the far more effective intrusion of the aesthetic by the political. As such, the political question of civil disobedience is necessarily an aesthetic one. At the same time, this raises problems for how politically effective artistic dissidence can be. As (...) Grindon argues, if art activism often only mimics ‘real’ social activism, it remains within the boundaries of the gallery system with no real consequences. Most art activism fails to be effective civil disobedience, in this sense, as it already operates within the confines of pre-established curatorial spaces. As such, the use of art for the purposes of civil disobedience cannot be, then, mere aestheticism, but rather must act as ‘an insight into the transformed mechanisms of conquest’ : a conflict over the topology of disobedience which exposes the interrelation of aesthetics and politics through medium, space and archive. This paper critically assesses attempts in contemporary art to re-appropriate the symbolic dimension of dissidence as an aesthetic; in particular the use of militancy, asceticism and dissidence as an attempt to move beyond mere counter-political protest and towards a reclaiming of aesthetics from the intrusions of politics. It uses as a specific case example Militant Training Camp, a social experimental performance camp held at Arcadia Missa Gallery in London, March 2012. This weeklong performance piece was designed to explore the activity and mind-set of militant groups and the idea of non-pacifist activity within wider social movements. Engaging with not only the tradition of anarchist activism, but also more recent artistic engagements with civil disobedience, the camp involved a residential ascetic ‘training programme’ followed by a series of violent performances open to the public, often disturbing other sites of protest such as Anarchist theatres and Occupy sites in the process. The paper uses first-hand documentary evidence and critical reflection on the event in order to argue that, as both an act of civil disobedience, and an exploration of the limits of its aesthetic treatment, the event raises two specific issues surrounding the notion of disobedience and its conceptual possibilities. The first issue is the representation of rage within the context of art activism. Here, the performance is discussed with particular reference to Sloterdijk’s arguments that argues that militancy and revolt operate under a ‘thymotic economy’. However, Sloterdijk’s re-appropriation of the thymotic – a conceptualising of ‘rage’ which is not absorbed within the sublimination of psychology or Habermasian symbolism – is not as simple as offering an alternative, ‘non-symbolic’ rage. Given that modern militancy is always subject to containment, the second issue raised is the formative role of ‘curating’ acts of disobedience. Using the work of Groys on aesthetics and power, the paper assesses how ‘events’ of civil disobedience such as Militant Training Camp are located, represented, circulated and even stored, and the ways in which they might resist their reduction to or supplementing of a further economy which conceals the formative ‘rage’ of disobedience. (shrink)

O presente artigo investiga as intervenções urbanas – pertencentes a um grupo composto por muitas manifestações artísticas realizadas no espaço público – que dialogam com a cidade. Compreendidas como práticas artísticas e socioespaciais, as intervenções urbanas do coletivo lesbiano Velcro Choque (Brasil) são analisadas a partir das potências que surgem com a ocupação das ruas da cidade e da esfera pública, já que tal ato coloca em cheque normas e narrativas históricas, que serão apontadas a partir do viés da crítica (...) feminista da cultura. Conforme mostra a prática do coletivo, o artivismo associado aos feminismos e às dissidências sexuais e de gênero podem oportunizar a criação de subjetividades libertárias e formas de existência e resistência através das produções coletivas nas artes visuais.Palavras-chave: Cidade. Intervenção Urbana. Feminismos. Artivismo. AbstractThis paper investigates urban interventions – belonging to a group composed of many artistic manifestations carried out in the public space – that dialogue with the city. Understanding the urban interventions as an artistic and socio-spatial practice, the production of the lesbian collective Velcro Choque (Brazil) will be analyzed based on the potency that emerges with the occupation of the streets and the public sphere, since this act can put in check historical norms and narratives, which will be pointed out from the bias of the feminist critic of the culture. As the practice of the collective shows, artivism associated with feminism, sexual and gender dissidences can create opportunities for the creation of libertarian subjectivities and forms of existence and resistance through collective productions in the visual arts.Keywords: City. Urban Interventions. Feminisms. Artivism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Chinese Science Fiction during the Post-Mao Cultural Thaw by Hua LiShaoming DuanHua Li. Chinese Science Fiction during the Post-Mao Cultural Thaw. Toronto: University of Toronto Press, 2021. 248 pp., hardcover, $68.00. ISBN 9781487508234.Chinese Science Fiction during the Post-Mao Cultural Thaw focuses on the years after Mao Zedong's demise, from 1976 to 1983, during which China's politics and culture underwent unusual changes. Li's book is a laudable scholarly endeavor (...) that provides readers with a new interpretation of science fiction (SF) during the post-Mao era. Li connects the production of Chinese SF to a wider context, including mainstream literary perspectives, domestic political demands and predicaments, changing international relations, and Western SF traditions. From my point of view, this book contributes to existing scholarship in four different ways.First, Li offers an explanation for the launching of the "Anti-Spiritual Pollution Campaign" in 1983, and for the withering of SF in the 1980s, that is different from that of many other scholars. According to Zhan Ling, Chinese [End Page 270] officials liked art that closely connected to politics in the 1980s.1 Yet SF writers were very interested in thriller themes during this period, pursuing literary value while neglecting political significance. Science fiction deviated from reality, which went against Deng Xiaoping's idea of "seeking truth from facts," proposed in 1978. For these reasons, Zhan argues, SF was labeled as "bourgeois literature" in the Anti-Spiritual Pollution Campaign and severely criticized.2 Wu Yan offers another explanation, focusing on how, in 1983, renowned scientist Qian Xuesen published an article in People's Daily that accuses then-current SF of being "specimens of pseudoscience" and misleading teenagers.3 Qian's viewpoint caught Deng's attention; he claimed in the same year that SF was a pollution of science.4 Moreover, a growing number of books and films promoted sexual liberation and Western democracy at this time. Faced with this "crisis," Deng called on all levels of judicial and propaganda departments to thwart the spread of these ideas and works in society. This campaign lasted for three years, with approximately twenty-four thousand people being executed for "mental impurity." It dealt a heavy blow to SF as well, causing the number of SF writers as well as the social impact of SF to decline significantly.5Compared to Zhan and Wu, Li places more emphasis on the fact that Deng wanted to achieve political and ideological unity through this campaign. In the 1980s, many voices were opposing Deng at the top of the Communist Party of China (CPC). Although Deng was not the highest leader of the CPC in name, he controlled the standing of the CPC. Many high-level officials accused Deng of destroying socialist democracy. Deng launched the Anti-Spiritual Pollution Campaign under the pretext of fighting the spread of "Western-inspired liberal ideas among the Chinese Populace" (14), while aiming to purge high-level dissidents from the CPC. This campaign, like Mao's Cultural Revolution in the late 1960s and 1970s, became increasingly violent and difficult to control as it went on. Many officials in the CPC took advantage of the campaign to attack people, policies, and behavior that they disliked (15). Li's account is very convincing because it aligns with the political changes that have occurred since then. Hu Yaobang was dismissed in January 1987 due to "indulging bourgeois liberalization and weakening the Party's leadership."6 As the general secretary of the Central Committee of the CPC, Hu admired the Western political system with its separation of powers and intended to establish such a system in China to achieve democratic modernization. However, his efforts were obstructed by Deng. The establishment of a modern democratic system would have signified the end of the CPC dictatorship. [End Page 271]Further, Li points out that SF in the post-Mao era lacked a critical awareness of ethical problems. SF writers of this era tended to ignore the moral and ethical implications of the use of modern technology, or they took up modern technology without the reflectiveness and attention to detail that makes modern technology something more than a normative... (shrink)

It’s a question that has puzzled philosophers and theologians for centuries and is at the heart of numerous political, social, and personal concerns: Do we have free will? In this cogent and compelling book, Julian Baggini explores the concept of free will from every angle, blending philosophy, sociology, and cognitive science to find rich new insights on the intractable questions that have plagued us. Are we products of our culture, or free agents within it? Are our neural pathways fixed early (...) on by a mixture of nature and nurture, or is the possibility of comprehensive, intentional psychological change always open to us? And what, exactly, are we talking about when we talk about “freedom” anyway? Freedom Regained brings the issues raised by the possibilities—and denials—of free will to thought-provoking life, drawing on scientific research and fascinating encounters with everyone from artists to prisoners to dissidents. He looks at what it means for us to be material beings in a universe of natural laws. He asks if there is any difference between ourselves and the brains from which we seem never able to escape. He throws down the wildcards and plays them to the fullest: What about art? What about addiction? What about twins? And he asks, of course, what this all means for politics. Ultimately, Baggini challenges those who think free will is an illusion. Moving from doubt to optimism to a hedged acceptance of free will, he ultimately lands on a satisfying conclusion: it is something we earn. The result is a highly engaging, new, and more positive understanding of our sense of personal freedom, a freedom that is definitely worth having. (shrink)

« L'âme humaine [...] est comparable à ces créatures fabuleuses - la Chimère, Scylla ou Cerbère - qui unissent en un seul corps les formes de plusieurs espèces d'êtres vivants. »Platon (env. 428-347 av. J.-C.) fait aujourd'hui figure de mythe. Fondateur de nombreux concepts dont nous sommes les héritiers, il apparaît comme le père de la philosophie moderne. Mais quel homme fut-il? Remarquable par son physique athlétique et son esprit brillant, cet enfant de l'aristocratie athénienne se destinait à la politique (...) ou aux arts. Sa rencontre avec Socrate bouleverse le cours de son existence. Rejetant dès lors la futilité de ses premiers penchants et condamnant les excès de la vie politique, il se voue corps et âme à la quête de la vérité.De son œuvre, il nous reste vingt-huit écrits, qui ont traversé vingt-cinq siècles. De son vécu, bien peu de chose. L'entreprise de Bernard Fauconnier soulève la question des sources : faute de pouvoir apporter une réponse ferme et limpide, l'auteur tente de retracer la ligne d'une vie qui, à bien des égards, fut exemplaire. Introduction Légendes et vérités Une jeunesse au bruit de la guerre Une éducation princière Un dissident Un procès criminel Premiers voyages Premiers dialogues J'aimerais tant voir Syracuse... L'Académie Un banquet de paroles Le temps de La République Une crise ontologique Le deuxième voyage à Syracuse L'échec du troisième voyage Ultimes corrections Mort d'un philosophe Après Platon Repères chronologiquesRéférences bibliographiques Notes. (shrink)

Dissent and Philosophy in the Middle Ages offers scholars of Dante's Divine Comedy an integral understanding of the political, philosophical, and religious context of the medieval masterwork. First penned in French by Ernest L. Fortin, one of America's foremost thinkers in the fields of philosophy and theology, Dissidence et philosophie au moyen-%ge brings to light the complexity of Dante's thought and art, and its relation to the central themes of Western civilization. Available in English for the first time through this (...) superb translation by Marc A. LePain, Dissent and Philosophy will make a supremely important contribution to the discussion of Dante as poet, theologian, and philosopher. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Jameson on Jameson: Conversations on Cultural MarxismPaul Allen Miller (bio)Jameson, Fredric. Jameson on Jameson: Conversations on Cultural Marxism. Ed. Ian Buchanan. Durham, NC: Duke UP, 2007. 296 pp.Fredric Jameson may well be the greatest intellectual produced by the United States in the last half century. It is difficult to think of anyone else who has made as many, as lasting, and as wide-ranging contributions as Jameson. From his (...) early work on Sartre’s style, passing through the twin opera on dialectical theory (Marxism and Form) and formalism and structuralism (Prisonhouse of Language), and the idiosyncratic appreciation of Wyndham Lewis (Fables of Aggression) to that summa of Marxist hermeneutics, The Political Unconscious, and from his major collection of essays, The Ideologies of Theory, through his books on Adorno (Late Marxism) and film (Signatures of the Visible), to that foundational text on postmodern literature, theory, art, and architecture, Postmodernism or the Cultural Logic of Late Capitalism, and the late work on world cinema (The Geopolitical Aesthetic), utopianism (The Seeds of Time), Brecht (Brecht and Method), modernity (A Singular Modernity), and science fiction (Archaeologies of the Future), Jameson’s career is unparalleled in the American letters. It is perhaps not coincidental, either, that this larger-than-life figure on the intellectual stage ranging easily from Russian formalism to Deleuzean antihumanism, from Balzac to Frank Gehry, and from Hegel to Derrida, is an intellectual dissident. Contemporary American life’s alternation between uncritical consumerism (Marcuse’s one-dimensional man) and nonothing anti-intellectualism (Christian fundamentalism and corporate-fueled jingoism) could only produce such a body of work as an alien presence: its own systemic negation and thus the fullest expression of its deepest internal contradictions. The present collection of interviews from 1981 to the present, then, stands as a welcome commentary on Jameson’s vast work and an important reflection of the changes in American intellectual life in the period from the last days of the Cold War to the end of the second Bush administration.Naturally, as with any collection of interviews, not every thing is new here. Indeed, to the seasoned reader of Jameson, much of this is familiar territory, and there is a fair amount of repetition from one interview to the next (Goethe’s concept of “world literature,” for example, is a recurring motif). Nonetheless, there are many moments of real insight and bold commentary that remind us why Marxism is far from dead and how Jameson has achieved an iconic status rivaling that of Lukacs, Althusser, or Eagleton, as one of the preeminent Marxist thinkers of the last century. Many of these come in the form of vignettes, little snippets of cultural analysis. One such comes in Jameson’s interview with Columbia University Professor of History Anders Stephanson. Here Stephanson asks Jameson to comment on the recent architectural and cultural phenomenon of creating ersatz public spaces. These come in the form of commercial areas that present themselves in guise of “squares,” “plazas,” or “villages.” They make reference to and pastiche traditional forms of life and then re-represent them in the form of a hypercapitalist consumerism. These simulacra of less alienated, precapitalist forms of [End Page 65] life are then presented as depthless surfaces, parodies of authenticity. The archetype of such ersatz public spaces is Disney’s EPCOT:Stephanson: In other words, you are referring to his compressed version of the world; little toy countries where you can orient yourself in no time at all.Jameson: I suppose you can orient yourself because walking paths are available. But where you actually are is a real problem, for you may in fact be in the Florida Everglades, and in this case you are not only in a swamp but also in a simulacrum of a different geographical complex altogether. Disneyland is, on the whole, supremely prophetic and paradigmatic of these multiple shifting and dissolving spatial levels. (49)This is both an insightful observation and a wonderful example of Jameson’s dialectic at work. One moment we’re walking hand in hand with Goofy round the little, fake Eiffel Tower of EPCOT and the next we sink into the morass that paved the Everglades, acquired control... (shrink)

Dissent and Philosophy in the Middle Ages offers scholars of Dante's Divine Comedy an integral understanding of the political, philosophical, and religious context of the medieval masterwork. First penned in French by Ernest L. Fortin, one of America's foremost thinkers in the fields of philosophy and theology, Dissidence et philosophie au moyen-âge brings to light the complexity of Dante's thought and art, and its relation to the central themes of Western civilization. Available in English for the first time through this (...) superb translation by Marc A. LePain, Dissent and Philosophy will make a supremely important contribution to the discussion of Dante as poet, theologian, and philosopher. (shrink)

This essay examines ‘The Mapping Journey Project’, an installation artwork by Bouchra Khalili. It consists of eight large video screens and headsets. In each video, a migrant draws a map of her/his journey to and in Europe and narrates her/his route. In collaboration with Khalili, I argue, these storyteller/draftspersons create a dissident cartography that superimposes their lived geography on the background of legal geography. Thus, ‘The Mapping Journey Project’ is a work of art that is also a work of (...) advocacy and provocation. Rather than advocating particular policies, however, it advocates in the sense of affirming the dignity of the subjects of the videos and their right to speak the truth of their lives. Moreover, it provokes by elucidating the moral stakes of the current political and economic order and by issuing a pointed demand for humane solutions. So long as vast global disparities of wealth and political power persist, it is no wonder that people who are excluded from the elite privilege of belonging to a prosperous society are burning the borders that protect this unjust regime. (shrink)

The mass childhood immunization programme has traditionally been viewed as a safe and effective preventative measure by health promoters, primary health care professionals and governments. This consensus has meant that immunization has rarely been viewed as ethically problematic. A number of recent changes in the context of the delivery of health care, particularly the emphasis on consumerism and the effect of the marketization of services, makes timely an examination of ethical, social and political issues. This article examines four main grounds (...) for problematizing the mass childhood immunization programme. These are: clinical research evidence about the safety and efficacy of vaccines; the masking of wider social and political determinants of ill health; the contradictory strictures about collective and individual rights in relation to immunization; and the uniqueness of childhood immunization as a physical intrusion into a healthy body. The implications of these ethical issues are discussed in relation to informed consent and the need for a 'greenfield' review that includes the views of dissenting parents, lawyers and moral philosophers, as well as health professionals. Les promoteurs de santé, les soignants et les gouvernements ont tous traditionellement vu le programme d'immunisation globale des enfants comme sain et efficace. Cela voulait dire que l'immunisation a rarement posé un problème éthique. Pourtant, actuellement des changements dans les contextes de la distribution des soins, le consumérisme et de l'effet de la commercialisation des services de santé, exigent une revue des problèmes éthiques, sociaux et politiques. Cet article discute quatre éléments problématiques du programme d'immunisation globale: les données des recherches médicales sur la sûreté et l'efficacité des vaccins; la dissimulation des déterminatifs sociaux et politiques des maladies; les critiques contradictoires des droits individuels et collectifs concernant l'immunisation; et le caractère unique de l'immunisation des enfants comme une intrusion physique dans un corps sain. Les effets de ces questions éthiques sont repris en rapport du consentement informé et de la nécessité d'une revue 'verte' qui comprend les vues des parents dissidents, des juristes, des philsophes et des membres des professions soignantes. Das Massenimpfungsprogramm von Kindern wurde allgemein von Gesundheits behörden, medizinischem Fachpersonal und Regierungen als sichere und wirksame Vorbeugungsmassnahme betrachtet. Diese Uebereinstimmung bedeutete, dass Imp fungen selten ein ethisches Problem darstellten. Eine Anzahl von Aenderungen im Gesundheitswesen - besonders im Hinblickin auf Konsum und Marktwirtschaft im Dienstleistungsbereich - berechtigen jedoch zu einer Untersuchung der ethischen, sozialen und politischen Fragen. Dieser Artikel untersucht vier Hauptgründe, die das Massenimpfungsprogramm für Kinder in Frage stellen: Forschungsergebnisse über die Sicherheit und Wirksamkeit der Impfstoffe; die Verschleierung von andern sozialen und politischen Krankheitsursachen; die widersprüchlichen Anordnungen über kollektive und individuelle Rechte mit Bezug auf die Impfungen; und die aussergewöhnliche Art der Impfung als physische Verletzung eines gesunden Körpers. Die Bedeutung dieser ethischen Fragen werden hier diskutiert im Zusammenhang mit der informierten Vereinstimmung und der Notwendigkeit eines 'grünen' Ueberblickes, der die Ansichten andersdenkender Eltern, Rechtsanwalte, Philosophen und Gesund heitsexperten einschliesst. (shrink)

This article takes a renewed look at Chicana political performance and urban intervention art in Latin America. Art-in-action has been a particularly fertile tradition in Latin America ever since the sixties, and more recently it has inspired a large number of performing artists working within a feminist and/or queer perspective. Here we would like to introduce the work of Chicano artist Guillermo Gómez-Peña and his band of performers, « La Pocha Nostra », and also that of the Bolivian collective « (...) Mujeres Creando », both pairing exposure of gender oppression to a post-colonial perspective and to the themes of territory, frontier, and identitary loyalty and dissidence. Their visual video-permormance work springs from the captations documenting their actions and performances, and also from video objects in the domain of the poetic field, or in that of hybridation of fiction and documentary reality. They take shape in the particular context of the American continent, which is one of imperial dominance, migratory situations, and skin-colour based stratifications, but also of processes of sovereignty and autonomy-creation by indigenous people, of democratic changes and revolutionary movements, and of cultural experiences and experiments of the border and of a being-creole. (shrink)

One of the most important books of the twentieth century, Karl Popper's The Open Society and Its Enemies is an uncompromising defense of liberal democracy and a powerful attack on the intellectual origins of totalitarianism. Popper was born in 1902 to a Viennese family of Jewish origin. He taught in Austria until 1937, when he emigrated to New Zealand in anticipation of the Nazi annexation of Austria the following year, and he settled in England in 1949. Before the annexation, Popper (...) had written mainly about the philosophy of science, but from 1938 until the end of the Second World War he focused his energies on political philosophy, seeking to diagnose the intellectual origins of German and Soviet totalitarianism. The Open Society and Its Enemies was the result. An immediate sensation when it was first published in two volumes in 1945, Popper's monumental achievement has attained legendary status on both the Left and Right and is credited with inspiring anticommunist dissidents during the Cold War. Arguing that the spirit of free, critical inquiry that governs scientific investigation should also apply to politics, Popper traces the roots of an opposite, authoritarian tendency to a tradition represented by Plato, Marx, and Hegel. In a substantial new introduction written for this edition, acclaimed political philosopher Alan Ryan puts Popper's landmark work in biographical, intellectual, and historical context. Also included is a personal essay by eminent art historian E.H. Gombrich, in which he recounts the story of the book's eventual publication despite numerous rejections and wartime deprivations. (shrink)

Resumo: Interessa ao pesquisador como o corpo poético negro e travesti da artista Castiel Vitorino Brasileiro se contrapõe à História e ao Sistema da Arte hegemônicos, ao mesmo tempo que contribui para uma revisão de suas práticas discursivas de inclusão e exclusão, por meio de sua poiesis, sua fabulação poética, na qual a um só tempo se visita e se reinventa uma ancestralidade afroindígena, atinente às origens e religiosidade da artista. A aparição e a visão do corpo preto e dissidente (...) de Castiel apontam para uma desestabilização do que Hubert Damisch nomeará “o teatro da representação”. Teoricamente, este texto recorre a um campo caracterizado pela interdisciplinaridade, no intuito de responder à complexidade de seu objeto de eleição: teorias decoloniais, estudos de gênero, teoria queer, filosofia, teoria lacaniana, teoria e história da arte, o que o aproximaria daquilo que a teórica holandesa Mieke Bal denomina Análise Cultural.: Our interest herein resides in how the poetical, black and travesti body of the artist Castiel Vitorino Brasileiro opposes and confronts the hegemonic Art History and its System, while contributing to a revision of its discursive practices of inclusion and exclusion through its poiesis, its poetical fabrication in which the artist’s afro-ameridian ancestry is both visited and reinvented. The apparition and vision of Castiel’s black, dissident body suggests, in our reading, a destabilization of what Hubert Damisch calls “the theatre of representation”. Theoretically, this text resorts to a field characterized by interdisciplinarity with a view to attempting to contemplate the complexity of its objet: gender studies, queer theory, philosophy, Lacanian theory, art history and theory, which would qualify it as an exercise in Cultural Analysis, as Dutch theorist Mieke Bal would have it. (shrink)

We explore themes in Nobel Prize–winning economist James M. Buchanan’s work and apply his Ethics and Economic Progress to problems facing individuals and firms. We focus on Buchanan’s analysis of the individual work ethic, his exhortations to “pay the preacher” of the “institutions of moral-ethical communication,” and his notion of law as “public capital.” We highlight several ways people with other-regarding preferences can contribute to social flourishing and some of the ways those who have “affected to trade for the public (...) good” might want to redirect their efforts. We show how Buchanan’s work has considerable implications for business ethics. Just as his economic analysis of politics changed how we understand government, we think his economic analysis of ethics can (and should) change how we understand business. (shrink)

Based on John Dewey's lectures on esthetics, delivered as the first William James Lecturer at Harvard in 1932, Art as Experience has grown to be considered internationally as the most distinguished work ever written by an American on the formal structure and characteristic effects of all the arts: architecture, sculpture, painting, music, and literature.

Helps individual readers to overcome procrastination and build self-esteem Reveals how to create a culture of accountability, and how to hold someone accountable Gives leaders a step-by-step process for helping team members become more self-responsible Explains commitment reluctance and how to encourage self-responsibility among team members Uncovers why we blame others and shows how to defeat a blame culture Provides an easy read with no consultant-speak In recent years, HORN Training and Consulting was awarded the distinguished Gold Medal by the (...) Canadian Society for Training and Development for its leadership development program designed for one of the world’s largest international banks; and HORN is currently executing leadership development projects on a global scale for companies in the consumer packaged goods and pharmaceutical industries. (shrink)

Discusses about selective engagement as the most desirable strategy for contemporary America, stating that it is the one that seeks to forestall dangers, not simply to react to them; that is politically viable; at home and abroad; and that protects US interests.