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state they had left (Baker 2013 : 318). Cro-dance differed from Eurodance as an audiovisual spectacle both in its linguistic translation and the whiteness, rather than blackness, of its performers. Media presented Cro-dance acts as from a white, Croat ethnic background even if performers were Bosniak and/or Romani (which would have positioned them outside the nation in post-Yugoslav Croatian identities' hierarchical symbolic geography). Blackness as a signifier was nevertheless part of Cro-dance's symbolic language: in performances of African-American street style

in Race and the Yugoslav region
Suicide

, refusing to expand on the hinterland of Ben’s life, and in implicit opposition to most novels where such experiences are regarded as primary encounters (for example in Ironweed when Francis is in the attic and goes through objects from his personal history). Ben is ‘empty’, and this is replicated in the novel’s treatment of Ben’s meeting with his past life. A more salient correlation between art and Ben’s life than this encounter is perhaps his description of his life as a piece of performance art, which would also have the effect of diminishing the importance of an

in The Existential drinker
Abstract only
The hybridisation of contracting

contract, performance, amendment, breach of contract, etc.). But once more they do this only as autonomous discourses, which, again each under the laws of its own internal perspectives and maintaining its own autopoiesis, reconstruct legal, productional and economic aspects. Instead of transcending the hermeneutic differences between the three contractual chains emerging in different social contexts, they only add

in Critical theory and legal autopoiesis
Open Access (free)
In the beginning was song

that fateful day in 1749, chances are that Rousseau would have remained an obscure figure and not a celebrated or reviled author. It is more likely that he (at best) would be remembered as a (very minor) composer – though Mozart adored his work (Wivel 1996: 65) In Dialogues he has the character of Jean-Jacques say of Rousseau, who is the subject of this strangest of autobiographies; ‘he was born for music … he discovered approaches that are clearer, easier, simpler and facilitate composition and performance … I have never seen a man so passionate about music as he

in The political philosophy of Jean-Jacques Rousseau
Open Access (free)
Identities and incitements

postcolonial scholarship to the highlighting of the pedagogical performances of the nation and unraveling(s) of the scandal of the state. 44 In explicit and implicit ways, issues of time and space lie at the core of these understandings of identities, broadly conceived. Together, the writings in these arenas have thought through pervasive projections of nations, nationalisms, and national

in Subjects of modernity
Self and others

a cultural norm.35 As Ryan-​Hayes describes it: ‘In Venichka’s world, it is not drinking that gives rise to Gore/​Grief; rather, drinking is normative, a symptom of the endemic spiritual illness that is grief. To exist in this world means to drink, and the only alternatives that present themselves are those of degree’.36 The social nature of this –​and Ann Komaromi argues that in Moscow–​Petushki ‘Venichka’s provocative performance demonstrates a drive to renew the poetic potential in language in order to create the possibility for meaningful social dialogue once

in The Existential drinker
Abstract only
The milestones of Teubner’s neo-pluralism

. 7 As Teubner states, the reflexive model of law ‘requires the legal system to view itself as a system-in-an-environment and to take account of the limits of its own capacity as it attempts to regulate the functions and performances of other social subsystems. Thus, its relation to social science knowledge is characterised neither by “reception” nor by “separation

in Critical theory and legal autopoiesis

Personality’ thesis of the Ghanaian president Kwame Nkrumah as modes for conceptualising ‘African cultures’ (Cvjetičanin 1979 ). Césaire and Guberina were reunited by the Kenya-born director Lawrence Kiiru, who settled in Zagreb after studying at the Academy of Dramatic Arts, for a 1990 documentary, Martinska–Martinique . 11 Amid their interlinguistic performances of fraternity, Césaire called both Martinique and Yugoslavia ‘ “handicapped,” “underdeveloped,” and “colonized” ’ societies (Jović Humphrey

in Race and the Yugoslav region
Life projects

its self from within, constantly revising itself, hence the constant looking back at younger ‘selves’, to the extent sometimes (as above) that the narrative of the self can be fixed as it was determined in the period of ‘youth’. At other times, and overlapping with the sense of a self in flux, is the idea that the self is a performance, for he imagines his self-​ questioning is carried out in front of ‘an audience where he himself was every one of the several hundred people staring back at the performer in silent contempt and ridicule. He knew he was thus looking at

in The Existential drinker
Abstract only
Democratic state, capitalist society, or dysfunctional differentiation?

anew, if, that is, the ideal and reality of democracy are to be reformed in step with sociological change. In this regard, there can be no doubt about the importance of the linguistic turn in social and political theory in the 1980s and the subsequent focus on recognition and performance at the centre of most attempts to reconceptualise mediation with the help of inter-​subjective Conclusion 201 frameworks. Instead of adopting one of those approaches, however, the present book investigates the historically specific ways in which FD constitutes the background

in Critical theory and sociological theory