The imaginary in the aesthetic of cinema
Bruce Kapferer

impetus within humanity of the Will to Power (the force of human self-creation) expressed in his poetic masterpiece, Thus Spake Zarathustra, constitutes the thematic unity of the film.1 Thus, while passing through great leaps in consciousness and development – from its primordial beginnings to its civilisational and technological mastery – humanity is presented as bound to a cycle of the repetition of the same within which it, nonetheless, can become reoriented in original ontological directions. The past is implicated in the future. However, through action in the

in Framing cosmologies
The myth and reality of social existence
Anthony King

can be employed so that it, too, contributes to contemporary debates in social theory. Certainly, this myth cannot resolve the technical issues of those debates – it cannot demonstrate the shortcomings of the concepts of structure and agency – but it does usefully symbolise the major positions in this debate. Thus, the work operates around two visions of social order, symbolised by the Ring and the Fellowship. Each represents alternative social ontologies: while the Ring signifies a dualistic society of autonomous individuals, unified only by a centralised, all

in Human agents and social structures
An introduction
Neil Cornwell

’. There have always been constraints imposed on the posing of the most difficult questions, from Aristotle’s injunction, ‘one must stop’, to Kant’s caution over those ‘absurd’ questions that ‘not only [bring] shame on the propounder of the question, but may betray an incautious listener into absurd answers’ (Critique of Pure Reason: cited Fotiade, 197). The shame of absurdity can therefore call forth moderation! 4 Introductory Ontology, Nihilism, Existentialism Logic is doubtless unshakeable, but it cannot withstand a man who wants to go on living. (Franz Kafka, The

in The absurd in literature
Clara Eroukhmanoff

expected consequences’, which reproduces the classical view of sciences by clearly separating a realm of subjects from a realm of objects. In doing so, this logic creates distance, both ontological and geographical, between the securitis ers – the security practitioners at the federal and local level – and the securitis ees – the individuals securitised and considered at risk of being radicalised. To put it differently, the securitisers are remote from their securitisees in the sense that a Remote Other is constructed and essential to securitising the Muslim population

in The securitisation of Islam
Natalie Bormann

.g., ‘deterrence worked in the past but rogues cannot be deterred’). It furthermore mobilises this knowledge into disciplining action (e.g., ‘forward leaning defence works against rogues’), which in turn verifies and reproduces knowledge about the other, an event, or a place in the world that NMD then purports to counter. We should be able to begin seeing how the US identity/NMD nexus intersects in this specific case. When we speak of ‘America’, or the American self, we need to think of a community which is ‘devoid of ontological being’, apart from the many practices that

in National missile defence and the politics of US identity
The Prisoner, authorship and allegory
Mark Bould

and Robert Coover – to whose works, I contend, The Prisoner should be added. Roughly contemporary, they all exhibit a hesitation between the literal and the allegorical as the ontological levels in their fictional structures collide with each other. McHale traces this kind of allegory back to James Joyce, Samuel Beckett and Franz Kafka, whose texts (like Herman Hesse’s novel The Glass Bead Game (1943), from which McGoohan derived the ‘Joseph Serf’ pseudonym under which he wrote and/or directed several Prisoner episodes) ‘seem to promise allegorical meaning

in Popular television drama
Andrew Patrizio

’s ‘unfulfilled promises and unacknowledged brutality’ and its roots in hegemony, teleology, rationalism, Eurocentrism and violence. 5 If the foundational terms of liberal humanism have been guiding art history so far, how might we read Braidotti’s assertion that ‘[n]ot all of us can say, with any degree of certainty, that we have always been human, or that we are only that’? 6 This is ontologically disorientating and also opens up much wider possibilities of identity. Art history should engage with Braidotti’s challenge, despite or because of the fact that the nature

in The ecological eye
Louise Amoore

, the revival of IPE in the 1970s precisely coincided with the inability of conventional IR frameworks to ‘fully comprehend structural change’ (Gill, 1997: 7). IPE, by contrast, claims to offer a distinctive ontology, one that is attuned to social forces and social relations on a global scale, and also a distinctive epistemology that is ‘open’ to diverse insights on social transformation (Strange, 1984; 1994).1 Hence, as Robert Cox has it, IPE embodies inherent critical potential, an ability to ‘stand back’ from the apparent order of things and to consider ‘the ways

in Globalisation contested
Collective private action and sustainable Europe
Caitríona Carter

freakish’ versus ‘laggard’ strategies of SDS action (see, for example, contributions to Jordan and Adelle, 2013). The ambition of the chapter therefore is to address these twin challenges of place and value-content of SDS through offering an alternative assessment grounded in an inclusive ontology as proposed in the Introduction to this book (Carter et al., 2015; Kauppi, 2010). My starting point is to replace realist assumptions about the SDS with constructivist ones and argue that, like Europe itself, sustainable development is not a thing. ‘Sustainable Europe’ too only

in Governing Europe’s spaces
Abstract only
Mark Brown

.’ (Auster, 1988: 46–7) This chapter will examine how in two novels in particular, Auster represents spaces which, like the unimaginable ‘Timbuktu’ or Eden, cannot be found on the map. The places represented in The Music of Chance and In the Country of Last Things are born entirely of imagination, and contain unreal and unknowable forces. These places do however exhibit characteristics that have their origin in real locations. The ‘fictional’ places which result allow Auster to explore the extremes of human experience, and to show how ontological stability is constantly

in Paul Auster