The digital era brings various benefits to adolescents. However, operating on the digital environment without sufficient knowledge and skills will expose them to multiple types of risks, especially in the country with low digital safety education rate like Vietnam. The current study examines factors that can contribute to cultivating adolescents’ digital resilience using the information-processing reasoning of the Mindsponge Theory. A UNESCO dataset of 1061 Vietnamese high school students was analyzed using the Bayesian Mindsponge Framework analytics. It is found that (...) adolescents’ daily Internet usage frequency, parents’ Internet safety guidance, and teachers’ safety guidance are positively associated with digital resilience. However, the effects of parents’ and teachers’ Internet safety guidance on digital resilience are conditional on the daily Internet usage frequency. Parents’ guidance only enhances adolescents’ digital resilience if they use the Internet less than four hours per day. In contrast, the positive effect of teachers’ guidance on adolescents’ digital resilience becomes stronger when the students spend more time on the Internet (more than 1 hour). Based on these findings, we suggest that adolescents can learn to minimize risks and protect themselves by exposing more to the digital environment. Parents’ and teachers’ supports are important in enhancing adolescents’ capability to deal with digital threats, but types of supports need to be carefully considered to avoid reverse impacts on adolescents’ resilience. (shrink)

A critical analysis of the "rebellious ethics" that is the paradigm of current professional ethics and that emerged in reaction to the "pure technician" displayed in the life of Albert Speer, Hitler's architect, along with a plea to professionals to take the morality of their professional roles more seriously.

ABSTRACT In this paper we deal with Hobbes’s elucidation of the political conflict caused by rebellious groups. First of all, we attempt to prove that groups are important characters in Hobbesian antagonisms. Secondly, it will be argued that the isomorphic structure that underlies all associations is vital to account for these disputes. To wit, the fact that minor corporate bodies are ‘similar’ vis à vis the State leaves a lengthy flank open to rebellion, since this homology may encourage their leaders (...) to compare themselves with the sovereign and to challenge his or her power. Whereas the inclusion of this trait may seem at face value paradoxical to Hobbes’s absolute order project, we shall contend that it is actually a way of ascribing responsibility to the leaders of rebellious groups. Furthermore, as a subsidiary hypothesis, it will be claimed that the centrality of the theory of represented corporations is a result of Hobbes’s aim to erase, not rebellion as such, but only its tumultuous setup. (shrink)

Myth of Rebellious Angels: Studies in Second Temple Judaism and New Testament Texts. By Loren T. Stuckenbruck. Grand Rapids, MI: William B. Eerdmans Publishing Co., 2017. Pp. xx + 427. $50.

The present pair of studies investigated the assessment, correlates, and evaluation of ?moral rebels? who follow their own moral convictions despite social pressure to comply. In Study 1, self, peer, and teacher ratings of adolescents' tendencies to be a moral rebel were positively intercorrelated. In Study 2, young adults' tendencies to be a moral rebel were associated with relatively high self-esteem scores and relatively low willingness to engage in minor moral violations and need to belong scores. Both adolescents and young (...) adults reported relatively favorable attitudes toward a morally rebellious peer, especially when they themselves had heightened ratings on this characteristic. (shrink)

The COVID-19 pandemic has transformed the ideological, social, economic, and political aspects of life on planet Earth. This study examines the visuals associated with COVID-19 published in Pakistani English newspapers. Visual data were collected through purposive sampling, analyzed using social semiotic theory, and discussed through a post-colonial lens. The visual data were grouped as Global South and North owing to socioeconomic and political categorization among countries. The results show that the Pakistani media portrayed the Global South as rebellious, miserable, and (...) noisy against the government. However, the Global North is depicted as civilized, stress-free, and abiding by all the instructions of the authority. Analysis shows that the two realms are visually represented as remarkably divergent from each other, and media portrayal has attached stereotypes identities to the nations. Pakistani media follows a basic restricted code of conduct, which should be extended to avoid labelling and politicizing groups and nations. (shrink)

Albert Camus's existential thinking has been the object of renewed interest over the past decade. Political theorists have looked to his work to shed light on the contradictions and violence of modernity and the dynamics of postcolonial justice. This article contends that Camus's account of the modern human condition provides a means of engaging critically with one of the most compelling ideas linked to thinking about global politics today: cosmopolitanism. By developing Camus's position on absurdity and rebellion, it suggests that (...) the idea of cosmopolitanism should be situated in a post-foundationalist and post-teleological nexus to prevent it becoming a new political ideology of immutable truth. In order to make this argument, the article focuses on how Camus's thinking supports a rebellious cosmopolitan disposition towards global transformations. In so doing, it shows that cosmopolitanism must strive against the injustices of a deeply divided world, yet at the same time accept theoretical, factual and moral limits on its vision and actions. (shrink)

ABSTRACT After the tragedies of the twentieth century, the utopian impulse was subject to searching criticism by a host of liberal intellectuals including Karl Popper, Hannah Arendt, Isaiah Berlin, and Jacob Talmon. Looking to history and political philosophy, these thinkers impugned utopianism for so frequently destroying the freedoms it appeared to pursue. Defined by its theoretical contradictions, the utopian project, rooted in the politics of the Enlightenment, bore some responsibility for the totalitarianism and genocide that had shaped their lives. As (...) this critique became liberal orthodoxy, a heretic group of anarchist thinkers challenged these conclusions. While travelling some distance with the liberal critics, for Paul Goodman, Marie Louise Berneri, and Herbert Read, the twentieth century, rather than invalidating the utopian urge made its boldness and experimentalism all the more vital. Their act of heresy was defending utopianism as a central component of their anarchist critique of the present. (shrink)

For many people subjected to systemic injustice, life under oppression involves participating in what philosophers have called “non-normative behavior,” or behavior that fails to comply with oppressive norms. Discussions of the value of such actions tend to emphasize the benefits they have for other people who are subjugated. I argue that while benefiting others is a noble goal, there are oppressed persons for whom such altruistic reasons do not apply. For all that, acting non-normatively may still be ethically worthwhile. I (...) highlight another source of value for non-normative behavior, stemming from one’s personal projects and relationships. Finally, I argue that having a disposition to engage in non-normative actions in the right way - a trait which I call rebelliousness - is a virtue under oppression, the right reasons for which include both altruistic and non-altruistic concerns. (shrink)

The term gurlesque refers to an aesthetics that mixes feminism, femininity, the grotesque and the cute. This article explores how contemporary Swedish feminist comic books do gurlesque theory with the aim of contributing to the theoretical conversation about feminine aesthetics and gurlesque. The study focuses on two contemporary Swedish comic books, Jag är din flickvän nu by Nina Hemmingsson and Allt kommer bli bra by Lisa Ewald. The article views gurlesque as a queer aesthetics, as a form of wilful misinterpretation (...) and taunting of perceptions of femininity. The word gurlesque draws from the word ‘girl’, and questions the connection between girlhood and young age from a queer perspective. Although the gurlesque is rooted in images of girlhood, it has the potential to grasp femininities of all ages. (shrink)

The paper traces the role of ‘women’ in Seyla Benhabib's work. It argues that this tracing helps to make clear the way that Benhabib's latest work relies on assuming distinctive political temporalities between the international (cosmopolitan and moral) and the domestic (democratic and political) spheres. The international is characterised by an unlocatable linear temporality of moral learning that draws on Habermas's reading of Kant's philosophy of history. In contrast, in the domestic, cosmopolitan temporality enters into a dialectical relation with an (...) Arendtian, republican temporality that is open and unpredictable and is clearly located within the (revisable) boundaries of political community. (shrink)

Jelena Ćeriman, Rebellious Parents: Parental Movements in Central-Eastern Europe and Russia, Indiana University Press, Bloomington, 2017).

Verse 4:34 of the Qur'an has historically been interpreted to give husbands authority over their wives. Even today, such as in a recent case in the United Arab Emirates, Islamic courts have held that the husband has some leeway in "disciplining" wives who act in a rebellious manner to their husbands. This article challenges this interpretation through a comprehensive legal analysis, taking into account the context under which the verse came about, including the societal norms and conditions of the time; (...) the Prophet Muhammad’s profound views against violence towards women; the values of marriage emphasized in the Qur’an; the Qur’an’s incremental approach to improving social behavior and practice; and the higher objectives of Islamic law. (shrink)

(Bonus material: a critique of the genesis myth of Western philosophy as well as of the exclusions and policing practices of both analytic and continental traditions).

Women view hypersexuality on their part as being about not subordinating their sexuality to their prospective wifely and motherly duties. Thus, women see hyper-sexuality on their part as a form of rebelling.

This paper reconstructs Albert Camus's notion of the absurd in order to elucidate his critique of historical teleology. In his life and work, Camus endeavoured to develop a fallibilist historical sensibility suitable for a cosmos shorn of meaning, which led him to reject ideas of progress and their traces of messianism when elaborating his treatment of rebellion. By making use of Camus's ideas about the absurd and rebellion, I suggest that these two themes productively unsettle contemporary cosmopolitanism as a teleological (...) orthodoxy of human progress and fruitfully, if paradoxically, lie at the heart of a concept of cosmopolitanism “without hope.”. (shrink)

Some nurses are responding rebelliously to the changing healthcare landscape by challenging the status quo and deviating from suboptimal practices, professional norms, and organizational rules. While some view rebel nurse leadership as challenging traditional structures to improve patient care, others see it as disruptive and harmful. These diverging opinions create dilemmas for nurses and nurse managers in daily practice. To understand the context, dilemmas, and interactions in rebel nurse leadership, we conducted a multiple case study in two Dutch hospitals. We (...) delved into the mundane practices to expand the concept of leadership‐as‐practice. By shadowing rebel nurse practices, we identified three typical leadership practices which present the most common “lived” experiences and dilemmas of nurses and nurse managers. Overall, we noticed that deviating acts were more often quick fixes rather than sustainable changes. Our research points to what is needed to change the status quo in a sustainable manner. To change unworkable practices, nurses need to share their experienced dilemmas with their managers. In addition, nurse managers must build relationships with other nurses, value different perspectives, and support experimenting to promote collective learning. (shrink)

On his death in 2007, Richard Rorty was heralded by the New York Times as “one of the world’s most influential contemporary thinkers.” Controversial on the left and the right for his critiques of objectivity and political radicalism, Rorty experienced a renown denied to all but a handful of living philosophers. In this masterly biography, Neil Gross explores the path of Rorty’s thought over the decades in order to trace the intellectual and professional journey that led him to that prominence. (...) The child of a pair of leftist writers who worried that their precocious son “wasn’t rebellious enough,” Rorty enrolled at the University of Chicago at the age of fifteen. There he came under the tutelage of polymath Richard McKeon, whose catholic approach to philosophical systems would profoundly influence Rorty’s own thought. Doctoral work at Yale led to Rorty’s landing a job at Princeton, where his colleagues were primarily analytic philosophers. With a series of publications in the 1960s, Rorty quickly established himself as a strong thinker in that tradition—but by the late 1970s Rorty had eschewed the idea of objective truth altogether, urging philosophers to take a “relaxed attitude” toward the question of logical rigor. Drawing on the pragmatism of John Dewey, he argued that philosophers should instead open themselves up to multiple methods of thought and sources of knowledge—an approach that would culminate in the publication of Philosophy and the Mirror of Nature , one of the most seminal and controversial philosophical works of our time. In clear and compelling fashion, Gross sets that surprising shift in Rorty’s thought in the context of his life and social experiences, revealing the many disparate influences that contribute to the making of knowledge. As much a book about the growth of ideas as it is a biography of a philosopher, Richard Rorty will provide readers with a fresh understanding of both the man and the course of twentieth-century thought. (shrink)

The latest book by the Slovenian critic Slavoj Zizek takes the work of French philosopher Gilles Deleuze as the beginning of a dazzling inquiry into the realms of radical politics, philosophy, film (Hitchcock, Fight Club ), and psychoanalysis. Of Organs without Bodies Joan Copjec ( Imagine There's No Woman ) has written: "With all his ususal humor and invention, Zizek -- the acknowledged master of the 180 degree turn -- here takes a trip into "enemy" territory to deliver Deleuze of (...) a marvelously rebellious child, one that seriously challenges Deleuze's other progeny with a surprising but convincing bid for succession. Those who thought Deleuze's forward march into the future would follow a straight path are forced to rethink their stance. From now on all readings of Deleuze will have to take a detour through this important -- even necessary -- book." Eric Santner ( On the Psychopathology of Everyday Life ) describes Organs without Bodies as offering "an entirely new degree of conceptual clarity and political urgency. Through his deep engagement with the logic of Deleuze's project, Zizek opens up new possibilities of thought beyond the terms of the current political debates on globalization, democratization, war on terror. Once again, Zizek has produced an utterly timely and radically untimely meditation." Recently profiled in The New Yorker , and hailed by the Village Voice as "the giant of Ljubljana," Zizek is one of the most provocative and entertaining thinkers at work today. (shrink)

From a rebellious young woman with a dangerous heroin habit to a globe-trotting fashion model to “First Lady of Yoga” (The New York Times), Colleen Saidman Yee tells the remarkable story of how she found herself through the healing power of yoga—and then inspired others to do the same. I’ve learned how to extract the beauty of an ordinary day. I’ve learned that the best high exists in the joy—or the sadness—of the present moment. Yoga allows me to surf the (...) ripples and sit with the mud, while catching glimpses of the clarity of my home at the bottom of the lake: my true self. The very first time Saidman Yee took a yoga class, she left feeling inexplicably different—something inside had shifted. She felt alive—so alive that yoga became the center of her life, helping her come to terms with her insecurities and find her true identity and voice. From learning to cope with a frightening seizure disorder to navigating marriages and divorces to becoming a mother, finding the right life partner, and grieving a beloved parent, Saidman Yee has been through it all—and has found that yoga holds the answers to life’s greatest challenges. Approachable, sympathetic, funny, and candid, Saidman Yee shares personal anecdotes along with her compassionate insights and practical instructions for applying yoga to everyday issues and anxieties. Specific yoga sequences accompany each chapter and address everything from hormonal mood swings to detoxing, depression, stress, and increased confidence and energy. Step-by-step instructions and photographs demonstrate her signature flow of poses so you can follow them effortlessly. Yoga for Life offers techniques to bring awareness to every part of your physical and spiritual being, allowing you to feel truly alive and to embody the peace of the present moment. (shrink)

Atheists are frequently demonized as arrogant intellectuals, antagonistic to religion, devoid of moral sentiments, advocates of an "anything goes" lifestyle. Now, in this revealing volume, nineteen leading philosophers open a window on the inner life of atheism, shattering these common stereotypes as they reveal how they came to turn away from religious belief. These highly engaging personal essays capture the marvelous diversity to be found among atheists, providing a portrait that will surprise most readers. Many of the authors, for example, (...) express great affection for particular religious traditions, even as they explain why they cannot, in good conscience, embrace them. None of the contributors dismiss religious belief as stupid or primitive, and several even express regret that they cannot, or can no longer, believe. Perhaps more important, in these reflective pieces, they offer fresh insight into some of the oldest and most difficult problems facing the human mind and spirit. For instance, if God is dead, is everything permitted? Philosophers without Gods demonstrates convincingly, with arguments that date back to Plato, that morality is independent of the existence of God. Indeed, every writer in this volume adamantly affirms the objectivity of right and wrong. Moreover, they contend that secular life can provide rewards as great and as rich as religious life. A naturalistic understanding of the human condition presents a set of challenges--to pursue our goals without illusions, to act morally without hope of reward--challenges that can impart a lasting value to finite and fragile human lives. Collectively, these essays highlight the richness of atheistic belief--not only as a valid alternative to religion, but as a profoundly fulfilling and moral way of life. "This Atheists R Us compilation differs markedly in tone from Hitchens and Dawkins. Excellent fare for Christian small groups whose members are genuinely interested in the arguments raised by atheists." --Christianity Today "Readable, personal, and provocative.... Contrary to the popular image, atheism isn't all rebellious trumpets and defiant drums.... Here we have all the varieties of unreligious experience, a full symphony of unbelief." --Free Inquiry "Compelling and sophisticated arguments that religious people ought to confront." --Tikkun. (shrink)

In what follows I distinguish «postmodern animism» from my preferred term «postmedia animism», which I propose is a better term to express a minor, virtual, contrarian art and media. In the time of planetary trauma, ecological devastation and collapse, this term will serve as a heuristic concept to trace the passage from pandemic, panic, catastrophe and crisis to the series pandemonium, delirium and the carnivalesque. My gambit is to invoke a rebellious and affirmative Yōkai imaginary (妖怪, ghost, phantom, strange apparition) (...) in order to contest passive forms of «transcendental narcissism» or «transcendental miserabilism».This we shall designate s an aesthetics of existence. In particular, I will analyse the relationship between natural disasters and politics within the Japanese imagination through reference to Namazu-e (鯰絵, woodblock prints depicting catfish), and their political effects in the aftermath of the earthquake of October 1855 (安政江戸地震, Ansei Edo Jishin) in the Edo period of Japanese history (FIG 1). My intention is to show that this historic art form, which grew out of trauma, demonstrates a fabulatory, dissensual and political aesthetics of resistance and creativity. It is an imaginary which appears conspicuously absent in our contemporary moment. (shrink)

Far from being pessimistic or nihilistic, as modern uses of the term "cynic" suggest, the ancient Cynics were astonishingly optimistic regarding human nature. They believed that if one simplified one's life—giving up all unnecessary possessions, desires, and ideas—and lived in the moment as much as possible, one could regain one's natural goodness and happiness. It was a life exemplified most famously by the eccentric Diogenes, nicknamed "the Dog," and his followers, called dog-philosophers, _kunikoi, _or Cynics. Rebellious, self-willed, and ornery but (...) also witty and imaginative, these dog-philosophers are some of the most colorful personalities from antiquity. This engaging introduction to Cynicism considers both the fragmentary ancient evidence on the Cynics and the historical interpretations that have shaped the philosophy over the course of eight centuries—from Diogenes himself to Nietzsche and beyond. Approaching Cynicism from a variety of thematic perspectives as well—their critique of convention, praise of natural simplicity, advocacy of self-sufficiency, defiance of Fortune, and freedom—William Desmond offers a fascinating survey of a school of thought that has had a tremendous influence throughout history and is of continuing interest today. _Copub: Acumen Publishing Limited_. (shrink)

Named one of the Ten Best Books of 2016 by the New York Times, a spirited account of a major intellectual movement of the twentieth century and the revolutionary thinkers who came to shape it, by the best-selling author of How to Live Sarah Bakewell. Paris, 1933: three contemporaries meet over apricot cocktails at the Bec-de-Gaz bar on the rue Montparnasse. They are the young Jean-Paul Sartre, Simone de Beauvoir, and longtime friend Raymond Aron, a fellow philosopher who raves to (...) them about a new conceptual framework from Berlin called Phenomenology. "You see," he says, "if you are a phenomenologist you can talk about this cocktail and make philosophy out of it!" It was this simple phrase that would ignite a movement, inspiring Sartre to integrate Phenomenology into his own French, humanistic sensibility, thereby creating an entirely new philosophical approach inspired by themes of radical freedom, authentic being, and political activism. This movement would sweep through the jazz clubs and cafés of the Left Bank before making its way across the world as Existentialism. Featuring not only philosophers, but also playwrights, anthropologists, convicts, and revolutionaries, At the Existentialist Café follows the existentialists' story, from the first rebellious spark through the Second World War, to its role in postwar liberation movements such as anti-colonialism, feminism, and gay rights. Interweaving biography and philosophy, it is the epic account of passionate encounters--fights, love affairs, mentorships, rebellions, and long partnerships--and a vital investigation into what the existentialists have to offer us today, at a moment when we are once again confronting the major questions of freedom, global responsibility, and human authenticity in a fractious and technology-driven world. (shrink)

The relationship between Prospero and Miranda is fairly typical for Shakespeare’s way of portraying parental authority and filial obligation. A strong and authoritative father, an absent mother and a rebellious daughter are character types reused in many of his plays. In The Tempest, authority, power and ownership, be it political or domestic, are important themes. In criticism, Prospero is frequently discussed through the prism of his attitude to his “subordinates”—Ariel, Caliban and Miranda—and the play’s narrative is interpreted in the context (...) of the theatre of power. Parental authority, a social construct, is a dynamic thing, and the Renaissance patterns discernible in Shakespeare’s plays are refashioned and changed in contemporary adaptations and appropriations of his plays. Informed by New Historicism and Cultural Materialism in relation to gender studies, this article seeks to examine the changing dynamics of the Prospero-Miranda relationship in three films—Derek Jarman’s, Paul Mazursky’s, and Julie Taymor’s —as well as Philip Osment’s 1988 play This Island’s Mine. Focusing on the issue of authority, power and ownership, the article aims at showing how stereotypical social and gender roles resonate with various political contexts of power. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ImagesSelected work, 2004–2017Goldschmied and Chiari Click for larger view View full resolutionIMAGE: Goldschmied & Chiari NYMPHEAS #37, 2011 Lambda print, 120 cm (diam.) Click for larger view View full resolutionIMAGE: Goldschmied & Chiari UNTITLED VIEW, 2017 Digital print on glass and glass mirror, 115 × 70 cm[End Page 49] Click for larger view View full resolutionGoldschmied & Chiari DUMP QUEEN #1 (triptych panels B and C), 2008 Diasec print, (...) 180 × 180 cm each[End Page 50] Click for larger view View full resolution[End Page 51] Click for larger view View full resolution[End Page 52] Click for larger view View full resolutionGoldschmied & Chiari GENEALOGY OF DAMNATIO MEMORIAE 1965–1981, 2009 Two carved living trees, 450 cm (height)Installation view (left); detail (right) Collection of MACRO (Museo d'Arte Contemporanea di Roma) Photo: Altrospazio[End Page 53] Click for larger view View full resolutionGoldschmied & Chiari NYMPHEAS #12, 2007 Lambda print, 125 × 333 cm Collection of Michele and Philippe Levy[End Page 55] Click for larger view View full resolutionIMAGE: Goldschmied & Chiari WELCOME, 2004 Sheetrock, plaster, cement, paint, 10 × 1.5 × 2.35 mt Collection Ugolini Photo: Gabriele Basilico[End Page 57]Sara Goldschmied and Eleonora Chiari are an artist duo from Italy, working with varied media: photography, video, performance, and installation. They work and live in Milan.Girls Just wanna have fun: Goldschmied & Chiari's Irreverent HumorHumor is not a trait for women, even less so for women artists in the Italian art world, where women's creativity has historically focused either on intimacy or on abstraction. In order to be taken into consideration by a male-dominated art scene, women artists working in the Italian peninsula have, since the '70s, consistently been obliged to be extremely serious about their work and its content. This trait can be traced all the way to the present with few exceptions, making Goldschmied & Chiari's (Sara Goldschmied and Eleonora Chiari) artistic practice exceptional in its constant employment of a peculiar, irreverent form of humor that functions as subliminal social critique.Humor used as a strategy to reconsider historical events in a post-ideological form of feminism develops in their work in witty installations that articulate a lucid critique of contemporary society and its relationship to history. Radically distancing themselves from the stereotype of authoritative and earnest feminism, Goldschmied & Chiari turn laughter into a metaphor for transformation. Their images trigger subtle political disruptions, allowing them to delve into the complex history of post-Cold War narratives, offering the public a new understanding of the relationships between the symbolic and the social.My first encounter with Goldschmied & Chiari's work (goldiechiari at the time) dates back to 2002 when I was working on a large survey show of emerging Italian art, exIT: Nuove geografie della creatività italiana, curated by Francesco Bonami. I was surprised by their work Senza titolo #17 that portrayed in a full-color photograph two girls dressed as if they were in boarding school, in plaid skirts and colored stockings, with long braids, sitting on the floor helping an elderly "grandmother" knitting in her armchair by making a hank of yarn. Looking closer, one sees that the girls were actually adolescents trapped in a parody that the artists further highlighted by installing in front of the photo what looked like a gigantic ball of yarn but was actually a sphere made of 1,500 cm of barbed wire (Sfera, 2002). The "tableau vivant" quality of the image made it both funny and critical, as visitors could relate as much to the stereotyped enactment of women's domestic roles as to the artists' rebellious desire. Instead of relegating their creativity to the domestic sphere, these "mischievous little girls" had wound a menacing barbed-wire ball that evoked Italy's recent past of social unrest and urban guerrillas. The assumption of ironic activist alter egos in one way referenced feminist practices of the '70s, yet at the same time seemed to mock the violence associated with protest and its success. [End Page 116]This type of atmosphere linked to city barricades and acts of protest is the inspiration for a large... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Species Counterpoint:Darwin and the Evolution of FormsRandall Everett AllsupMy intention is to tell of bodies changed to different forms; the gods, who made the changes, will help me—or so I hope—with a poem that runs from the World's beginning to our own days.1I.A recent article in a progressive monthly magazine asked by way of a thesis, "Whose music is the blues?" Under the title, the tag line read, "2003 (...) is the 'Year of the Blues.' But as a music born of oppression becomes a feel-good soundtrack for white America, just what are we celebrating?"2 I recall feeling puzzled by this rather old-fashioned topic of investigation. Anyone with access to the Internet knows that music is not for one group or another. Global file sharing has made ownership as easy as, well, sharing a file. Furthermore, the tendency to depart from ancestral forms, whether as rebellious teenagers, rock guitarists, or both, seems genetically built into us. Life is a metamorphosis and music—like life—evolves.To advance the notion that music is made for one people and not another, that it has absolute or essential qualities, opens a terribly large can of worms. We know, for example, that identity and music are linked, but the relationship is not [End Page 159] mono-directional, causal, or fixed. My relationship to the blues or Broadway show tunes for that matter is defined somewhere within a dense web of group associations, educational opportunities, even closet desires. With regard to psychological research on identity, slippery and impermanent as identity is, this research is really about similarities.3 Conservative in this light, such studies look for commonalities: their goal is to identify "what is."4Fear is often the dominant response to the evolution of a cherished form. Change, however, holds equal parts fear and promise. The Chinese word for crisis, wei-ji, means "opportunity with danger." This essay will contextualize the latter, but focus on the former. It is worth asking, for example, what might result from an examination of anomalies? Rather than attempt to identify "what is," such an inquiry would be concerned with "what else" [the abnormality] as well as "what might be" [the opportunity]. Located, I think, within the anomalies and mutations that seem to fit so well our globally connected world are new codes, altered methods for self-understanding, and interaction in the arts.Charles Darwin and The Origins of Species will provide the conceptual framework for this discussion.5 To look for help in the work of Darwin will require a crossbreeding of scientific theory and metaphor, a cross-pollination of hypothesis and the hypothetical. We will look at how the production of new forms, particularly musical forms, is shaped. Speaking metaphorically, a work of art or entertainment can be seen as an adaptation to and of its environment. We know that cultural products, like all living species, are not permanent entities. Change, Darwin stressed, carries with it purpose. To that end, he looked for variation to help him understand how and why an organism or system developed the way it did. What might be revealed if we apply this procedure to the field of music and music education? We might see eco-systems in various stages of growth, health, and decline. A look at musical forms as mutable, living creations that spring from and reflect a particular condition raises interesting questions about place and purpose.II.Only a hundred and fifty years ago, a single event—a theory!—precipitated a cultural crisis that threw down two thousand years of scientific and philosophic thought. The popular revolt that Charles Darwin's The Origin of Species fueled (and continues to fuel) called into question fundamental beliefs about how the world is made. Darwin's theory that matter and energy are in steady flux, that life is in need of constant variation, implied that fixed or universal truths are nothing more than comforts created by the mind. The Origin of Species was therefore more than a scientific revolution.6 A core tenet of Western culture was challenged by its publication: the so-called immaterial spirit, whether viewed in the [End... (shrink)

These writings chart Harman's rise from Chicago sportswriter to co-founder of one of Europe's most promising philosophical movements: Speculative Realism. In 1997, Graham Harman was an obscure graduate student covering Chicago sporting events for a California website. Unpublished in philosophy at the time, he was already a popular conference speaker on Heidegger and related themes. Little more than a decade later, as the author of stimulating and highly visible books on continental philosophy, he was Associate Vice Provost for Research at (...) the American University in Cairo, and a key member of the Speculative Realist movement along with Ray Brassier, Iain Hamilton Grant, and Quentin Meillassoux. This fascinating collection of eleven essays and lectures from 1997-2009, anchored by Harman's rebellious transformation of Heideggerian philosophy, show the evolution of his object-oriented metaphysics from its early days into an increasingly developed philosophical position. Each chapter is preceded by Harman's delightful and witty scene-setting commentary. (shrink)

We are living in the era of street art. Since Nick Riggle’s pivotal work on the definition of street art, several philosophers have addressed issues in the philosophy of street art. The goal of this paper is to summarize the literature. I consider the following matters, which have been at the core of philosophical discussions on street art: demarcation, value, illegality, and the ethical foundation of intellectual property (IP) protection. In answering the question ‘What is street art?,’ philosophers have generally (...) resisted skeptical approaches by developing a wide range of real and essentialist definitions of street art (Section 2). When considering street art’s value, I distinguish between aesthetic and non-aesthetic centered accounts. If the former focus on the aesthetic side of our experience of street art, the latter generally place emphasis on its activist nature and political significance (Section 3). In discussing the relationship between street art and illegality, I canvas different takes on the issue. If for some scholars illegality is either a necessary or sufficient condition for street art, philosophers tend to agree that it is neither, while not denying its relevance at the level of identity and authenticity (Section 4). Finally, I consider matters of IP protection of street art. On the one hand, copyright optimists defend the view that current IP legislations may very well have a positive impact on the promotion and preservation of street art. Pessimists, on the other hand, argue that an extension of copyright privileges to works of street art is likely to jeopardize the counter-cultural and rebellious nature of this urban art kind (Section 5). (shrink)

ABSTRACT Berkeley argues in Passive Obedience that what he calls morality is based on the divine laws of nature, which God gave us and whose validity is like that of the principles of geometry. One of these laws is the categorical demand for loyalty to the supreme political power. This is to say, rebellious action is strictly impermissible and passive obedience is morally required: we may disobey but only in terms of action omission and then we must accept the penalty (...) or punishment. This paper clarifies the logic of Berkeley’s argument and evaluates the acceptability of his results, especially when he considers possible exceptions in the case of a tyrant, usurper, and mad prince. What should one do? We may ‘sit still and pray for better times’ and think of the day of divine judgement; is this enough when a citizen is under a tyrannical political rule? Can we trust the good will of magistrates, or expect God’s help? Berkeley speaks of your moral duty to supreme power but in the last part of his treatise he also mentions the possibility of two competing princes, or no supreme power. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 29.1 (2005) 1-23 [Access article in PDF] Literature and Evolution: A Bio-Cultural Approach Brian Boyd University of Auckland Many now feel that the "theory" that has dominated academic literary studies over the last thirty years or so is dead, and that it is time for a return to texts.1 But many more outside literary studies—in fields as diverse as anthropology, economics, law, psychology, and religion—have recently (...) come to recognize that the deep past that shaped our species can help to explain our present and recent past. Since a bio-cultural model of the human can only be richer than a solely cultural model, and since it implies neither genetic determinism nor limitation to the status quo, I want to argue for a bio-cultural or evolutionary approach to literature, first in very general terms, and then through a few aspects of a single familiar example, Hamlet.2 Such an approach, I suggest, can offer both a more comprehensive theory of literature and a closer investigation of literary texts. I Traditional views of literature tended to see it as reflecting nature, especially human nature, all the way from Plato's discomfort with, or Aristotle's admiration for, mimesis to Shakespeare's or Stendhal's images of art as holding the mirror up to nature. Common-sense traditional views of art and literature have easily shaded into transcendental views, widespread because religious beliefs have been so pervasive and because both artists and their patrons in state or church benefit by nurturing a sense of awe at art's putatively divine origins and power.In the twentieth century, first in sociology, anthropology, and even [End Page 1] psychology, then by the 1960s in the combination of these with Saussurean linguistics that produced structuralism and its aftershocks, and therefore impacted on literature, there has been a rejection of human nature as a given and a stress on human nature as the product only of culture and convention. "Theory," or what the Norton Anthology of Theory and Criticism more pointedly calls cultural critique, rightly critiques traditional common-sense and transcendental views of art, pointing out that the nature, human nature, or supernature that art or literature was supposed to reflect was merely what was assumed of these things from within a local cultural perspective.3 Roland Barthes, for example, criticized "the mystification which transforms petit-bourgeois culture into a universal nature."4 Modern Theory also rejects the individual as another bourgeois or capitalist or Western notion, as when Fredric Jameson echoed Barthes's Death of the Author by announcing the Death of the Subject.5 Criticism since the 1960s "has denied, on theoretical grounds, the relevance of the single historically definable author."6However, as many have lately realized, there are problematic ethical consequences of both the denial of human nature and the denial of the individual. After such denials, on what basis do we then claim equal rights for all humans, and on what basis do we assign responsibility for particular actions?7 If there is no "single historically definable author," does that mean that someone penning a racist screed cannot be held accountable?A critique of unquestioned Western assumptions about human nature was needed, but the post-1960s critique was shortsighted: it has not looked nearly far enough. While structuralism and its more or less rebellious offspring were continuing the lineage of early twentieth-century social sciences, the natural sciences were moving in the opposite direction, towards the first comprehensive scientific attempt to understand human nature in the context of evolution and human, animal, and artificial cognition and behavior.In the humanities there has of late been widespread skepticism about science. Some postmodernists have what they deem "a sophisticated appreciation of the futility of proof and the relativity of all knowledge claims." But, as Daniel Dennett comments, "this opinion, far from being sophisticated, is the height of sheltered naïveté, made possible only by... ignorance of the proven methods of scientific truth-seeking and their power."8 Science does not generate only true answers: ideas proposed within it can of... (shrink)

Logic is often seen as the bedrock of intellectual life. It aims to be straight-forward, true, clear. But in this provocative book of postmodern philosophy, Ermanno Bencivenga presents an extended reflection on the subversive nature of logic--logic that is not stable and certain, but deceptive and tortuous. The author uses Anselm, the Archbishop of Canterbury at the end of the eleventh century, as his case study to show how human reason can be devious. In Anselm's famous texts, his beliefs are (...) not at stake, he is sure of them--he only seeks to under-stand his faith, not to prove it. But by looking at Anselm's writings as a whole, Bencivenga argues that they undermine Anselm's own interpretation. Not only can reason be more effective than force in fighting the unorthodox, but it can also be a subtle way of undermining orthodoxy. Bencivenga demonstrates how reason plays different roles at the different levels of Anselm's project. For its authoritarian subject, reason imposes a limit on its rebellious character. For its subversive subject, reason opens up an infinite arena for experimentation whose end will never be reached. Ultimately, Logic and Other Nonsense asks hard questions about the nature of philosophy in Anselm's world, as well as our own. (shrink)

Hannah Arendt valued the unprecedented, the unexpected, and the new, yet in essays crafted at the end of the rebellious 1960s, struggled to square this valuation with a palpable desire for law and order. She lamented that criminality had overtaken American life, accused the police of not arresting enough criminals, and charged ‘the Negro community’ with standing behind what she named black violence. At once, she praised ‘the white rebels’ of the student movement in the United States for their courageous (...) acts of disobedience. This essay explores how differential Arendt’s treatment of lawbreaking action was in an effort to understand how ‘certain sections of the population’ in the United States could appear to stand for criminality rather than civil disobedience to her mind. It examines how Arendt’s reflections on the ostensibly non-racial subjects of civil disobedience and lawbreaking were underwritten by racial, when not racist, ways of thinking. The essay also raises a larger question: to the extent that the concept of civil disobedience involves limits, how are those limits drawn to the exclusion of certain kinds of actors and their particular claims in the public realm? Pondering this question through Arendt, it concludes that in her theorization of civil disobedience, Arendt was profoundly limited by the fabulous tale that the United States is an exceptional land of freedom and democracy in the world. (shrink)

_Illegal Leisure _offers a unique insight into the role drug use now plays in British youth culture. The authors present the results of a five year longitudinal study into young people and drug taking. They argue that drugs are no longer used as a form of rebellious behaviour, but have been subsumed into wider, acceptable leisure activities. The new generation of drug user can no longer be seen as mad or bad or from subcultural worlds - they are ordinary and (...) everywhere. Illustrated throughout with interview material, _Illegal Leisure _shows how drug consumption has become normalised, and provides a well-informed analysis of the current debate. (shrink)

Resumen: A mediados del siglo XX, Blanchot elabora una crítica minuciosa de algunos tópicos de Camus. Su interés, sobre todo, se centra en la renovación camusiana del cogito sintetizada en la fórmula Me rebelo, luego somos. Para Blanchot, el hombre desgraciado ha perdido el poder de decir “Yo” y, por ello, es una figura de lo impersonal que no puede ser reconducida a la persona. Sin embargo, esto no implica la renuncia a la insumisión: Blanchot recupera la figura de Sísifo (...) para mostrar que hay una rebeldía de lo impersonal que excede al hombre, marcando así el camino a la “resistencia de lo neutro” que sería reivindicada por la filosofía francesa e italiana del siglo XXI.: In the mid-20th century, Blanchot developed a thorough critique of some of Camus’ topics. His interest mainly focused on the renewal of the camusian cogito synthesized in the formula “I rebel, therefore we are.” For Blanchot, the hapless man has lost the power to say “I” and is thus a figure of the impersonal that cannot be redirected to the person. Nevertheless, this does not entail a waiver of rebelliousness: Blanchot recovered the figure of Sisyphus to show that there is a rebellion of the impersonal that exceeds man, indicating the way to the “resistance of the neutral” to be claimed by French and Italian philosophy of the 21st century. (shrink)

In this article, we discuss the current trend of authoritarianism in the Islamic world, especially as embodied in the institution of taqlîd, whereby a lay person blindly follows a religious scholar. We will compare this to the mystical tradition of Ibn ‘Arabî as well as the early esoteric Shî’ite tradition, where a much more “rebellious” type of Islam was offered and provided purviews of pluralism and universalism that challenge authoritarian closures of interpretation in relationship with God. By way of further (...) comparison, we will also attend to the writings of some liberal and pluralistic thinkers in the Muslim world. Maintaining cheerfulness in the midst of a gloomy task, fraught with immeasurable responsibility, is no small feat; and yet what is needed more than cheerfulness?-Nietzsche Twilight of the Idols. (shrink)

Young Hegelianism has often been identified as a crucial element in the reorientation of Western philosophy during the mid-nineteenth century. Due to its substantial contribution to the ‘revolutionary rupture’ between Hegel and Nietzsche, it is even said to have had a direct and lasting influence on the identity of philosophy today. This article attempts to shed a new light on the Young Hegelians’ radical critique of traditional philosophy by focusing on their existential condition as youngphilosophers. More particularly, it attempts to (...) see their revolutionary philosophical project from the perspective of a generation conflict. In order to underline the validity of this perspective, three specific arguments are elaborated and brought together. The first draws attention to the fact that the emergence of an independent youth generation was a totally new phenomenon in European civilization at that time. By demonstrating its intrinsic relationship with rebellious youth movements such as Young Italy, Young Europe and Young Germany, Young Hegelianism is situated in the social and political context of a wide-ranginggeneration conflict in European culture. The second argument establishes that the name ‘Jung-Hegelianer’ was anything but an external or superficial indication since, by the end of the 1830ies, it became the consciously preferred self-identification of the radical fraction within the Hegelian school. Hence, the use of the prefix ‘young’ should be associated with the then prevailing subversive meaning of the term, expressing the belief in a whole-sale cultural renewal by the young generation. The third and final argument reveals how the philosophical revolution of the Young Hegelians is fundamentally linked with Hegel’s dialectical understanding of the different stages of life. In that respect, their name also expresses a well-considered philosophical choice for the stage of youth and accordingly determines a specific way of philosophizing. (shrink)

My essay consists of three parts. In the first section, I review the historical context of Baroque aesthetics as it is developed during the late 16th and 17th centuries in Europe and then I track its development in Latin America into the third quarter of the 18th century. The principled excess of the Baroque, to adapt Cyrano de Bergerac’s formulation cited below, was designed for theological and imperial purposes. Secondly, I address more recent literature and literary theory. Why, in the (...) early 20th century, did Latin American poets, novelists, essayists and critics begin to rediscover, recover and reconstitute Baroque modes of expression? What was it about this Catholic, monarchical, colonizing aesthetic that now seemed suited to postcolonial purposes? I refer to several theorists and writers who pioneered and/or inspired the 20th-century idea of the New World Baroque as a rebellious retort to Europe rather than a passive reflection. My third section considers how to teach the politics of Baroque aesthetics, and why Baroque aesthetics remains relevant today. (shrink)