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Alexander García Düttmann

193 7 Self-​reflection Alexander García Düttmann Self-​reflection, the philosophical concept that plays a key role in Menke’s essay on law and violence, stands opposed to all forms of spontaneity. Where –​inevitably, perhaps –​such reflection kicks in, or takes over, spontaneity must reveal itself to be either a form of naivety and stupidity, an immediacy that deceives itself about its own implications and mediations, or a form of ideology. The effort made to overcome thick-​headedness will still seem rather improbable, at least from the perspective of the

in Law and violence
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Christoph Menke in dialogue
Series: Critical Powers
Editor: Christoph Menke

This book focuses on the paradoxical character of law and specifically concerns the structural violence of law as the political imposition of normative order onto a "lawless" condition. The paradox of law which grounds and motivates Christoph Menke's intervention is that law is both the opposite of violence and, at the same time, a form of violence. The book develops its engagement with the paradox of law in two stages. The first shows why, and in what precise sense, the law is irreducibly characterized by structural violence. The second explores the possibility of law becoming self-reflectively aware of its own violence and, hence, of the form of a self-critique of law in view of its own violence. The Book's philosophical claims are developed through analyses of works of drama: two classical tragedies in the first part and two modern dramas in the second part. It attempts to illuminate the paradoxical nature of law by way of a philosophical interpretation of literature. There are at least two normative orders within the European ethical horizon that should be called "legal orders" even though they forego the use of coercion and are thus potentially nonviolent. These are international law and Jewish law. Understanding the relationship between law and violence is one of the most urgent challenges a postmodern critical legal theory faces today. Self-reflection, the philosophical concept that plays a key role in the essay, stands opposed to all forms of spontaneity.

Andrew Smith

contribution that recent work in animal studies can make to our rethinking about the Gothic at the end of the nineteenth century will be explored in depth in an account of Dracula (1897), but first it is important to observe how these critical self-reflections are manifested in images of readers and writers that pervade the fin de siècle Gothic text. Gothic readers in the Gothic Towards the end of Arthur Machen’s The Great God Pan (1894) we encounter an eye-witness account of the death of Helen Vaughan

in Interventions
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Thomas Osborne

understanding!’ 7 All of Adorno’s work revolves around this problem. And (in this sense) serious Kantian that he is, Adorno connects up this question of maturity with the question of critique. 8 But critique is not just an epistemic matter in Adorno, but ultimately an ethical one. The highest value that we can embody is that of critical self-reflection. ‘The single genuine power standing against the principle of Auschwitz is autonomy if we might use the Kantian expression: the power of reflection, of self-determination, of not cooperating’. 9 That is what Adorno is about

in The structure of modern cultural theory
Open Access (free)
Recognition, Vulnerability and the International
Kate Schick

has fostered pervasive ignorance and indifference. An education towards ‘critical self-reflection’ or ‘protest and resistance’ (Adorno 1998b : 193; Adorno and Becker 1999 : 30–1) calls for recognition of and resistance to this collective blindness and coldness. A pedagogy infused by agonistic recognition is a radical pedagogy that promotes a counter-cultural embrace of ambiguity, vulnerability and love

in Recognition and Global Politics
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The emotional economy of interwar Britain
Lucy Noakes

preferred domesticity to disorder, and restraint to revolution.23 This demanded personal, as much as political, control and helped to shape the emotional economy of self-restraint and selfmanagement that came to dominate in the interwar years. Self-restraint was central to this new emotional economy. As Frank Mort has argued, the years between the wars saw the emergence of ‘an emotionally centred sense of self’ that expected individuals to manage their feelings through a process of self-reflection and self-control.24 This self-reflection should not be confused with

in Dying for the nation
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Anca Mihaela Pusca

—everything is possible—as well as a sense of inevitability—we watch disasters as if they were on TV as opposed to trying to do something about them, even when it is within our means. By following a group of Romanian photographers throughout their travels within northern Romania, the chapter also tried to examine the extent to which different forms of representation, such as photography, can open up much-needed spaces for self-reflection and create new forms of interaction between the subject and the photographer. By displaying some of the pictures taken by the 7 Days Group

in Revolution, democratic transition and disillusionment
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Scott Wilson

is just as intense, though less informed by Marxism. Biohazard, another metal band whose early use of rap can be credited with pioneering the nu metal genre, addressed similar themes to Rage, often (as their name would suggest) emphasising the environmental damage caused by capitalist exploitation and the waste of natural resources. Formed in 1988, their first major-label album, State of the World Address (1994), combined rap and metal with political rage directed at nuclear power, pollution, greed, violence and rage itself which becomes the object of self-reflection

in Great Satan’s rage
Three lives of the chess-player in medieval and early-modern literature
John Sharples

skills’, such as speaking or, one might add, chess-play.60 Fudge’s discussion of the highly useful and highly tempestuous concept of ‘human-ness’ also informs this discussion of the animal chess-player. The sixteenth-century tale of a chess-playing Indian or Iberian ape or monkey is characteristic of the manner in which the animal world was utilised in narratives for self-reflection and also amusement. Two tellings, Giovanni Nenna’s A Treatise of Nobilitie (1595) and Baldassare Castiglione’s The Book of the Courtier (1556), situate the tale among other ‘pleasant’ or

in A cultural history of chess-players
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Socialist women and Women’s Liberation, 1968–82
Sue Bruley

of this story, where necessary, I have supplemented my oral narratives with other published accounts, media and archive sources. Oral history is necessarily a process of public self-reflection and performance.4 This involves a conversation with one’s earlier self, which is not always comfortable. As an oral historian I have to accept the terms on which people offer their stories. Three of my respondents requested that their accounts be anonymous. Consequently the names ‘Helen’, ‘Barbara’ and ‘Karla’ are pseudonyms. The women depicted here were all born between 1940

in Against the grain