scholarly journals The Body Autonomy in the Short Story “Wanita Muda di Sebuah Hotel Mewah” by Hamsad Rangkuti: The Feminism Discourse Analysis of Sara Mills

2021 ◽  
Vol 4 (10) ◽  
pp. 38-45
Author(s):  
Imas Marfudhotun ◽  
Wiyatmi Wiyatmi
Keyword(s):  
Gender Equality ◽  
Short Story ◽  
Qualitative Method ◽  
The Body ◽  
The Self ◽  
The Other ◽  
Economic Problems ◽  
The Third ◽  
Feminist Interpretation ◽  
The Subject

Patriarchal capitalism shows the dominance of men in the various life sector. Feminism, as a style, demands gender equality. This research aims to understand body autonomy in a short story "Wanita Muda di Sebuah Hotel Mewah" with Sara Mills' feminist perspective. This descriptive qualitative method took the data from the short story written by Hamsad Rangkuti in 2016, published by Senja. This research observed the subjects, objects, and readers via reading and note techniques. The results showed that the sixteen-year-old woman became the object. The woman did not have any autonomy over her body. The other problem was the economic problems that made her sold his virginity. The self-trafficking process of the hotel officer made the officer the subject. The third matter, the beauty of the body and the virginity, was the co-modification that had price value. The fourth, the woman could not control her body. The feminist interpretation, based on Sara Mills, in the short story, showed that the woman became the object, the guess, and the hotel officer as the subject. The position woman also had the reader's position, the hotel officer, and the hotel guest.

Blind Men Speaking of Colors: Paul's Recollection and the Self-Image of Early Thirteenth-Century Theologians

2014 ◽  
Vol 107 (4) ◽  
pp. 425-446
Author(s):  
Ayelet Even-Ezra
Keyword(s):  
Thirteenth Century ◽  
The Body ◽  
The Self ◽  
First Person ◽  
Knowledge Of God ◽  
The Third ◽  
Self Image ◽  
Third Person ◽  
The Subject ◽  
The Third Person

In the Second Epistle to the Corinthians, Paul writes: It is doubtless not profitable for me to boast. I will come to visions and revelations of the Lord: I know a man in Christ who fourteen years ago—whether in the body I do not know, or whether out of the body I do not know, God knows—such a one was caught up to the third heaven. And I know such a man—whether in the body or out of the body I do not know, God knows—how he was caught up into Paradise and heard inexpressible words, which it is not lawful for a man to utter. Of such a one I will boast; yet of myself I will not boast, except in my infirmities. (2 Cor 12:1–5 nkiv) This brief and enigmatic account is caught between multiple dialectics of power and infirmity, pride and humility, unveiling and secrecy. At this point in his letter Paul is turning to a new source of power in order to establish his authority against the crowd of boasting false apostles who populate the previous paragraphs. He wishes to divulge his intimate, occult knowledge of God, but at the same time keep his position as antihero that is prevalent throughout the epistle. These dialectics are enhanced by a sophisticated play of first and third person. The third person denotes the subject who experienced rapture fourteen years ago, while the first person denotes the narrator in the present. Only after several verses does the reader realize that these two are in fact the same person. This alienation allows Paul the intricate play of boasting, for “of such a one I will boast, yet of myself I will not boast.”

Contemporary Relevance of Nehru

2012 ◽  
Vol 19 (1) ◽  
pp. 149-168
Author(s):  
Baljit Singh
Keyword(s):  
World View ◽  
Cultural Nationalism ◽  
The Body ◽  
The Other ◽  
Washington Consensus ◽  
Fourth Section ◽  
The Third ◽  
Third Phase ◽  
The Subject ◽  
The One

The subject contemporary relevance of Nehru is unfolded into five sections. First section introduces the subject by contextualising Nehru’s ideas in the contemporary scenario. Nehruvian ideological system and its utility in the age of globalisation constitute the body of this article. His nationalism, socialism and world view are located and discussed in the second, third and fourth sections, respectively. Nehru’s idea of composite culture, contested by cultural nationalism from the one end and ethno-nationalism from the other end of spectrum comprises the second section. The third section discusses the conception, consolidation, retreat and revival of Nehruvian model of economic development in the light of Washington Consensus and Post-Washington Consensus. His idea of socialism and the mixed economy are debated in liberal, neoliberal and post-neoliberal scenario. His world view faced rough weather during the second and third phase of India’s foreign policy. The former was set in motion after his death, whereas the latter started taking shape in the Post-Soviet world, which has acquired the hegemonic overtones. Contemporary significance of Nehru’s world view in the hegemonic world is probed in the fourth section. The last section sums up the discussion in the form of concluding observations.

scholarly journals Salvador Dalí, i ritratti ibridi degli anni Venti

Venezia Arti ◽  
2019 ◽  
Author(s):  
Elide Pittarello
Keyword(s):  
The Body ◽  
The Self ◽  
The Other ◽  
Luis Bunuel ◽  
Avant Garde ◽  
Salvador Dali ◽  
European Culture ◽  
The Subject ◽  
The One ◽  
Porous Boundaries

The life and artworks of Salvador Dalí (1904-1989) are closely interconnected and thoroughly documented. Returning to the hybrid portraits painted by the young artist in the 1920s gives us, on the one hand, the chance to recall a phase in his maturing process which, with few exceptions, is often undervalued by art historians and curators, especially those who are not Spanish. On the other, it can allow us to reaffirm Federico García Lorca’s crucial role in their conception and iconic execution between 1925 and 1927. After the influence of the painter Rafael Barradas from Uruguay, Dalí chose the authoritative model of Picasso, the undisputed master. Encouraged by Luis Buñuel, who had moved to Paris, Dalí visited Picasso in 1926. After that meeting he started to paint multiple heads and self-portraits which include García Lorca’s silhouette. As to avant-garde arts and their porous boundaries, the friendship uniting García Lorca, Buñuel and Dalí was fructuous from the time when they lived at the Residencia de Estudiantes in Madrid. In this institution, open to the most original innovations of European culture, certain aesthetic motives emerged which each developed in his own inimitable way: the subject as a mask, the self being the other, the body reduced into pieces of anatomy, putrefied remains, aberrant mix of organic and inorganic stuff.

scholarly journals Kūniškasis subjektas: Aš kaip „mano skausmas“ ir kaip „mano meilė“

Problemos ◽  
2014 ◽  
Vol 66 (1) ◽  
pp. 102-115
Author(s):  
Olga Shparaga
Keyword(s):  
The Body ◽  
The Self ◽  
The Other ◽  
Three Dimensions ◽  
False Consciousness ◽  
The Social ◽  
Strongly Connected ◽  
The Subject ◽  
Classical Philosophy

The key task of my text is the justification of the use of on phenomenological model of the subject designated as a “my pain and my love”. First, such subject is seen as an alternative to the transcendental subject of the classical philosophy, which is characterized first of all as a rational subject. This rational subject is capable to give himself a generally valid rule of knowledge and action. Second, the phenomenological understanding of the subject represents a certain version of the “false consciousness”, which was developed from the “masters of the suspicion” (Marx, Freud, Nietzsche). Philosophy of the “masters” was intended to criticize the autonomy and absolutely self-determination of the rational subject and show the different forms of the conditionality on the Reason. Thirdly, the phenomenological understanding of the subject is a response to the different forms of philosophical reduction of subjectivity and self-consciousness. This response is developed in this text as a discussion with Manfred Frank. The phenomenological subject is the embodied or bodily subject. This embodiment has three dimensions (B. Waldenfels): World-relation (Weltbezug), Self-relation (Selbstbezug) and Others-relation (Fremdbezug). These dimensions allow to speak about the bodily subject as a Self, which is interpreted as my embodiment to the Other. “The I as my pain and my love” is a metaphor of this form of the Self, which means, that self-comprehension originates in the feeling of the pain and of the love, that is, in the certain experience of own body and in the act of love for this concrete Other. Such experience can be designated as a process of identification. The bodily subject as my embodiment to the Other is strongly connected with different praxis of the “socialization of the body”, which are in need of the philosophical analyses and criticism. Phenomenology proposes its own direction of criticism, which intends to justify that difference of the social and cultural praxis themselves is based on the originality of my embodiment to the Other and not vice versa. Thus the explication of the originality of the Self must be connected with the analyses and criticism of the “socialization of the body”, which includes a new non-classical ethical dimension.

scholarly journals POETICS OF LIFELOGGING: ON INTERSUBJECT FORMS OF UTTERANCE IN IGOR KHOLIN’S POEMS

2020 ◽  
Vol 6 (4) ◽  
pp. 84-94
Author(s):  
Aleksei S. Bokarev ◽  
◽  
Yulia V. Tkachuk ◽  
Keyword(s):  
Focus Of Attention ◽  
The Body ◽  
The Self ◽  
The Other ◽  
Field Of View ◽  
The World ◽  
Inner World ◽  
The Subject ◽  
Literary Metaphor ◽  
Lyrical Subject

The article is addressed to the consideration of the subject organization of lyrics by I. Kholin, a representative of the Lianozovo literary group, who became widely known as the author of the book of poems “Residents of the Barack”. Already in the presented, debut for the poet, composition there were outlined the types of speech widely presented to him, in which the subject is likened to a life-log camera, and the focus of attention is shifted from “Self” to “you”, from internal to external to the speaking world. The term “life-logging”, meaning the automatic fixation of a person's life using a video medium fixed to the body, is used in the article as a literary metaphor, “highlighting” the difficulty of personal speaking and self-expression of the protagonist. However, just as the environment of a life logger who does not fall into his own lens gives him a sufficient (if not exhaustive) idea, the life realities in the subject's field of view can tell about his inner world no less than he by himself. The analysis of a number of poems (the most detailed is considered “Fences. Garbage cans. Posters. Advertising”) allows you to demonstrate the intersubjective nature of life-logic “optics”. The latter is used by Kholin in three different forms: as the “dissolution” of the speaker in the text, as the construction of the statement on behalf of the syncretic subject and as the priority of the “other” over the “self” when creating the verbal “self-portrait” of the hero. The impossibility of distancing from hostile reality, but also the inadequacy of selfdetermination in its conditions, testify to the formation of a kenotic model of the artist's relationship with reality. In Kholin's poetry, the lyrical subject is not only a detached viewer, but also a protagonist who fully shares his sins and suffering with the world.

Delving into Horror

2019 ◽  
Vol 29 (5) ◽  
pp. 135-150
Keyword(s):  
The Self ◽  
Time And Space ◽  
The Third ◽  
The World ◽  
The Subject ◽  
Perception Of Time ◽  
Definition Of

The springboard for this essay is the author’s encounter with the feeling of horror and her attempts to understand what place horror has in philosophy. The inquiry relies upon Leonid Lipavsky’s “Investigation of Horror” and on various textual plunges into the fanged and clawed (and possibly noumenal) abyss of Nick Land’s work. Various experiences of horror are examined in order to build something of a typology, while also distilling the elements characteristic of the experience of horror in general. The essay’s overall hypothesis is that horror arises from a disruption of the usual ways of determining the boundaries between external things and the self, and this leads to a distinction between three subtypes of horror. In the first subtype, horror begins with the indeterminacy at the boundaries of things, a confrontation with something that defeats attempts to define it and thereby calls into question the definition of the self. In the second subtype, horror springs from the inability to determine one’s own boundaries, a process opposed by the crushing determinacy of the world. In the third subtype, horror unfolds by means of a substitution of one determinacy by another which is unexpected and ungrounded. In all three subtypes of horror, the disturbance of determinacy deprives the subject, the thinking entity, of its customary foundation for thought, and even of an explanation of how that foundation was lost; at times this can lead to impairment of the perception of time and space. Understood this way, horror comes within a hair’s breadth of madness - and may well cross over into it.

scholarly journals Idrott och genus: Kroppens materialisering

2005 ◽  
Vol 15 (2) ◽  
pp. 55-72
Author(s):  
Håkan Larsson
Keyword(s):  
The Body ◽  
Track And Field ◽  
The Other ◽  
Biological Entity ◽  
Male Body ◽  
The Subject ◽  
Male Discourse ◽  
And Gender ◽  
The One ◽  
Cultural Effect

Håkan Larsson: Sport and gender This article concerns bodily materialisation as it occurs in youth sport. It is based on interviews with teenagers 16 to 19 years of age doing track and field athletics. The purpose of the article is to elucidate how the notion of a “natural body“ can be seen as a cultural effect of sports practice and sports discourse. On the one hand, the body is materialised as a performing body, and on the other as a beautiful body. The “performing body“ is a single-sexed biological entity. The “beautiful body“ is a double-sexed and distinctly heterosexually appealing body. As these bodies collide in teenager track and field, the female body materialises as a problematic body, a body that is at the same time the subject of the girl’s personality. The male body materialises as an unproblematic body, a body that is the object of the boy’s personality. However, the body as “(a problematic) subject“ or as “(an unproblematic) object“ is not in itself a gendered body. Rather, these are positions on a cultural grid of power-knowledge relations. A girl might position herself in a male discourse, and a boy might position himself in a female discourse, but in doing so, they seem to have to pay a certain price in order not to be seen as queer.

Self, Indian theories of

2018 ◽  
Author(s):  
T.S. Rukmani
Keyword(s):  
The Body ◽  
The Self ◽  
The Other ◽  
Self Identity ◽  
Inner Self ◽  
Spiritual Energy ◽  
The Individual ◽  
The Universe ◽  
Ultimate Principle ◽  
Ultimate Nature

Hindu thought traces its different conceptions of the self to the earliest extant Vedic sources composed in the Sanskrit language. The words commonly used in Hindu thought and religion for the self are jīva (life), ātman (breath), jīvātman (life-breath), puruṣa (the essence that lies in the body), and kṣetrajña (one who knows the body). Each of these words was the culmination of a process of inquiry with the purpose of discovering the ultimate nature of the self. By the end of the ancient period, the personal self was regarded as something eternal which becomes connected to a body in order to exhaust the good and bad karma it has accumulated in its many lives. This self was supposed to be able to regain its purity by following different spiritual paths by means of which it can escape from the circle of births and deaths forever. There is one more important development in the ancient and classical period. The conception of Brahman as both immanent and transcendent led to Brahman being identified with the personal self. The habit of thought that tried to relate every aspect of the individual with its counterpart in the universe (Ṛg Veda X. 16) had already prepared the background for this identification process. When the ultimate principle in the subjective and objective spheres had arrived at their respective ends in the discovery of the ātman and Brahman, it was easy to equate the two as being the same spiritual ‘energy’ that informs both the outer world and the inner self. This equation had important implications for later philosophical growth. The above conceptions of the self-identity question find expression in the six systems of Hindu thought. These are known as āstikadarśanas or ways of seeing the self without rejecting the authority of the Vedas. Often, one system or the other may not explicitly state their allegiance to the Vedas, but unlike Buddhism or Jainism, they did not openly repudiate Vedic authority. Thus they were āstikadarśanas as opposed to the others who were nāstikadarśanas. The word darśana for philosophy is also significant if one realizes that philosophy does not end with only an intellectual knowing of one’s self-identity but also culminates in realizing it and truly becoming it.

Multiple Expeausures: Identity and Alterity in the ‘Self-Portraits’ of Francesca Woodman

Paragraph ◽  
2013 ◽  
Vol 36 (3) ◽  
pp. 376-391
Author(s):  
Amy Sherlock
Keyword(s):  
The Self ◽  
The Other ◽  
The Subject ◽  
Francesca Woodman

This article considers the photographs of Francesca Woodman in terms of the complex and ambivalent set of relations they configure between photographer, photographed subject and viewer. Usually described as ‘self-portraits’, the subject of these fleeting, fractured images simultaneously presents itself whilst seeming to withdraw from them. The self, there where it most openly declares itself, disappears. Drawing on Jean-Luc Nancy's concept of exposition, or exposure, which posits the self as being in-exteriority, thinking the intimacy of subjectivity in terms of an originary relation to the outside or the other, I seek to problematize the possibility both of the portrait and the self that is its subject.

scholarly journals Shame, de-subjectivation and passivity – on the metaphysics of the Self in Levinas and Agamben

2018 ◽  
Vol 63 (1) ◽  
pp. 190
Author(s):  
Fabricio Pontin
Keyword(s):  
The Self ◽  
The Other ◽  
Escape Time ◽  
Greek Thought ◽  
The Subject

This article provides a relation between the problem of shame in both Levinas and Agamben, focusing, for the most part, in the development of Levinas' metaphysics and its relation to the emotional tonality of shame in three works: "On Escape", "Time and the Other" and "Otherwise than Being". In stressing the unique take that Levinas has on metaphysics, I try to point at the tension between Jewish and Greek thought in Levinas, and his option for a radical notion of a situated understanding of the "ethical". Hence my interest in contrasting Levinas and Agamben, as Agamben's appropriation of Levinas' lexicon in his "Remnants of Aushwitz" places the subject in a political, and material, position which is ultimately uncompatible with Levinas' situational and metaphysical take on the self.***Vergonha, des-subjetivização e passividade – a metafísica do Eu em Levinas e Agamben***Este artigo fornece uma relação entre o problema da vergonha tanto em Levinas como em Agamben, focando principalmente, no desenvolvimento da metafísica de Levinas e sua relação com a tonalidade emocional da vergonha em três trabalhos: "De l'évasion", "Le Temps et l'Autre, "e" Autrement qu'être ou Au-delà de l'essence". Ao enfatizar perspectiva única que Levinas tem da metafísica, aponto tensão entre o pensamento judeu e grego em Levinas e sua opção por uma noção radical de uma compreensão situada do "ético". Daí o meu interesse em contrastar Levinas e Agamben, particularmente como a apropriação de Agamben do léxico de Levinas em seu "O que restou de Aushwitz" coloca o assunto em uma posição política e material, que, em última análise, é incompatível com a tomada de posição e metafísica de Levinas.

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