scholarly journals On Politics of Friendship

2021 ◽  
Vol 7 (1) ◽  
Author(s):  
Dirk J Smit
Keyword(s):  
Dominant Discourses ◽  
Politics Of Love

The paper distinguishes four dominant discourses in contemporary so-called politics of friendship, namely a politics of enmity (Schmitt), a politics based on the notion of friends as “another self” (Aristotle), a politics of love (Augustine), and a politics of “perhaps” (Derrida). It then considers if and how Koopman’s person and work fit into such a typology

Carnival exhausted: Roguishness and resistance in W. G. Sebald

2019 ◽  
Vol 49 (1) ◽  
pp. 48-69
Author(s):  
Ivan Stacy
Keyword(s):  
Prose Fiction ◽  
Form Part ◽  
Dominant Discourses ◽  
The Way

This article examines the under-acknowledged presence of carnivalesque elements in W. G. Sebald’s prose fiction. While the carnivalesque holds a less prominent position than melancholy in Sebald’s work, it is nevertheless a persistent aspect, although its presence decreases in his later texts and is almost entirely absent from Austerlitz. The article argues that these elements form part of Sebald’s resistant stance towards the dominant discourses of modernity. On this basis, the article discusses the carnivalesque in Vertigo, The Emigrants and The Rings of Saturn from two perspectives. First, it examines the presence of carnivalesque figures and locations, arguing that these are evidence of carnival’s exhaustion, and of the way that modernity has closed down the possibility of licensed transgression. Second, it argues that the narrators themselves are duplicitous, ‘masked’ figures whose inconsistencies and ethical transgressions are central to Sebald’s project of unbinding modern subjectivity.

Canine Rescue as a Social Movement: The Politics of Love

2018 ◽  
Vol 28 (5-6) ◽  
pp. 670-687
Author(s):  
Anna L. Peterson
Keyword(s):  
Social Context ◽  
Public Sphere ◽  
Animal Rights ◽  
Animal Advocacy ◽  
The Social ◽  
Human Animal Bond ◽  
Nonhuman Animals ◽  
Political Approach ◽  
Human Animal ◽  
Politics Of Love

Abstract Canine rescue is a growing movement that affects the lives of tens of thousands of nonhuman animals and people every year. Rescue is noteworthy not only for its numbers, but also because it challenges common understandings of animal advocacy. Popular accounts often portray work on behalf of animals as sentimental, individualistic, and apolitical. In fact, work on behalf of animals has always been political, in multiple ways. It is characterized both by internal political tensions, especially between animal rights and welfare positions, and by complex relations to the broader public sphere. I analyze canine rescue, with a focus on pit bull rescue, to show that an important segment of canine rescue movements adopts an explicitly political approach which blurs the divide between rights and welfare, addresses the social context of the human-animal bond, and links animal advocacy to social justice.

scholarly journals Writing about listening: alternative discourses in rock journalism

Popular Music ◽  
2009 ◽  
Vol 28 (1) ◽  
pp. 53-67 ◽  
Author(s):  
CHRIS ATTON
Keyword(s):  
Field Theory ◽  
Social Practices ◽  
Alternative Music ◽  
Dominant Discourses ◽  
Alternative Discourses

Abstract‘Alternative’ publications challenge the conventional discourses of rock journalism. In particular, the dominant discourses of authenticity, masculinity and mythology might be countered by publications that emphasise historical and (sub)cultural framing, and that present radicalised ‘spaces of listening’. Using Bourdieu’s field theory to identify autonomous and semi-autonomous sites for rock criticism, the paper compares how a fanzine (the Sound Projector) and what Frith has termed an ideological magazine (the Wire) construct their reviews. The findings suggest that, whilst there is no evidence for an absolute break with the dominant conventions of reviewing, there is a remarkable polyglottism in alternative music reviewing. The paper emphasises differing cultural and social practices in the multiple ways the publications write about music, and argues for the value of such polyglottism.

A Battle for Sovereignty

2021 ◽  
Vol 45 (3) ◽  
pp. 361-386
Author(s):  
Aleksandar Pavlović ◽  
Gazela Pudar Draško ◽  
Jelena Lončar
Keyword(s):  
Cultural Heritage ◽  
Institutional Design ◽  
Legal Framework ◽  
Resistance Mechanisms ◽  
Dominant Discourses ◽  
International Peacebuilding ◽  
Two Sides

Abstract This article examines the role, status and perceptions of the Serbian cultural heritage in Kosovo from both Kosovo Albanian and Serbian perspectives. The analysis focuses on two cases, which attracted particular resistance on each of the two sides: the passing of legislation in the Kosovar parliament in 2012 that aimed to protect Serbian cultural heritage and the 2015 unsuccessful Kosovo bid for unesco membership. Both moments demonstrate how cultural heritage is primarily approached from the statehood perspective and used to additionally deepen inter-ethnic distances. The authors shed more light on the discrepancies between the international peacebuilding efforts and the internationally imposed legal framework, challenging the reduction of the peacebuilding efforts to institutional design, while dominant discourses of both Serbian and Albanian elites essentially deepen the enmity and serve as resistance mechanisms to the international peacebuilding strategies.

The Politics and Symbolism of the #ThisFlag in Zimbabwe

2020 ◽  
Vol 42 (1) ◽  
Author(s):  
Tinashe Mawere
Keyword(s):  
State Power ◽  
The State ◽  
The Other ◽  
Productive Capacity ◽  
Discursive Analysis ◽  
Other Hand ◽  
Symbolic Meanings ◽  
Dominant Discourses ◽  
National Flag ◽  
Cultural Tools

In the context of the hashtag movement #ThisFlag, this paper examines the sensual affects drawn from flag symbolism and why the Zimbabwean flag is policed by the state. It uses the symbolism and politics of the hashtag movements by focusing on Evan Mawarire’s national lament and the Zimbabwean flag. It employs a literary and discursive analysis of Mawarire’s lament using desktop research on the contestations surrounding the flag. It shows that in dominant nationalist discourses, the flag is imaged as the land/nation and feminised to warrant it utmost respect, protection, sanctity and re/productive capacity. On the other hand, the #ThisFlag has made use of the flag to resist and subvert grand and naturalised dominant discourses of nationalism and citizenship to foster new imagi/nations of the nation. The use of the flag by the movement provoked ZANU-PF’s ownership of the national flag, which is quite similar to and has been drawn from the flag of the party, hence the movement was challenging the identity of the party, its ownership and its relevance. The paper shows the fluidity of symbols and symbolic meanings and why #ThisFlag had symbolic radical power and the possibilities of using the state’s and ZANU-PF’s cultural tools to challenge ZANU-PF’s hold on national knowledge and power. It contributes to our understanding of both state-power retention and how subaltern voices can uncover the agency of subjects within the very instruments of control incessantly used by dominant regimes.

In the Wake of Visual Failure

Social Text ◽  
2021 ◽  
Vol 39 (2) ◽  
pp. 1-23
Author(s):  
Wendy Sung
Keyword(s):  
Racial Violence ◽  
Visual Form ◽  
Dominant Discourses ◽  
Visual Failure

Abstract This article examines the role of the visual in instances of recorded anti-Black racial violence and pushes against dominant discourses of the technological rescue narrative—that technology and more visibility will lead to different outcomes of accountability, protection, and safety. Instead, this article argues that the tightly bound association of anti-Black racial violence's recognizability to the visual has created a dynamic that simultaneously moves us closer to and further away from its ontological truths. Examining Twitter as a multisensorial platform and its users’ imaginative engagements with the #IfIDieInPoliceCustody hashtag memorializing Sandra Bland's death, the author identifies that users craft an anticipatory nonspectatorship, a mode of imaginative witnessing arising from the contexts of technological and visual failure and the situated imaginations of Black epistemologies. These users register a deep suspicion of the evidentiary and refuse the spectacular of racial violence's visual form, instead highlighting its ubiquitous and quotidian nature by asserting themselves into their own scenes of visual failure and becoming witnesses to their own imagined deaths. Finally, in identifying the visual failures surrounding Sandra Bland's jail cell, the author illuminates how the ontology of the glitch can demonstrate the mechanics of white supremacy's operations.

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