scholarly journals touch of separation— toward an ethics of anxiety in the age of the global contagion

Author(s):  
Jeffrey S. Librett

I examine the relation between anxiety and the COVID-19 pandemic.  For context, I begin by sketching the rise of anxiety as a theme from the 19th century to the post-World War II era, as a mood of the individual in a world without absolutes.  Then, I characterize the current moment as the age of the anxiety of the global contagion.  Next, I examine the most general effects of the COVID-19 pandemic on the individual ego, as simultaneous radical separation from and connection with others.  I proceed to juxtapose this situation with Freud’s anxiety theory, which likewise involves simultaneous separation and connection.  The social ego today thus appears, from a Freudian perspective, as in an exacerbated anxiety-state.  I claim that this exacerbation helps us understand more clearly Freud’s anxiety theory, and vice versa.  I then consider where this anxiety takes place, and so I examine the Freudian “site” of anxiety—the ego. This examination clarifies two aspects of Freud’s ego-theory: both the sense in which the Freudian ego is (post)modern, and the sense in which Freud’s linkage of anxiety with the ego is not occasional, but constitutive.  That is, the ego is the site of anxiety, in that anxiety characterizes the ego as such, because the ego is a (post) modern liminal structure.  I suggest in conclusion that the affirmation and acceptance of anxiety as a fundamental experience of the ego, and of the psyche more generally, constitutes an ethical imperative for psychoanalysis in general, and especially in the contemporary age of the global contagion.

2020 ◽  
Vol 16 (1) ◽  
pp. 210-218
Author(s):  
Libor Ižvolt ◽  
Peter Dobeš

AbstractMost of the railway lines in Slovakia were built in the second half of the 19th century, or until 1918 (the establishment of Czechoslovakia). Except for the post-World War II period, when approximately 71 % of the Slovak lines had to be renewed, limited funds have been spent on repair and reconstruction works on the lines located in the Slovak territory. As some trans-European corridors cross the Slovak territory and the Slovak Republic assumed obligations arising from the AGC and AGTC agreements, the line modernization is more than desirable. The primary objective of the modernisation of railway lines in the territory of Slovakia is to ensure a high-quality and safe railway, which by its qualitative parameters corresponds to the standards of developed European countries. In this context, the paper deals with a section of the modernised corridor no. Va, specifically the section Považská Teplá - Žilina. During the period 2014-2017, quality diagnostics of the performed work was carried out on the sub-ballast layers of the above-mentioned line. Consequently, we carried out an analysis of the obtained values of the deformation resistance of the subgrade surface, as the weakest element in the construction of the sub-ballast layers.


Author(s):  
Antonello Tancredi

This chapter addresses the development, after World War II, of two different currents of thought inherited by the Italian international law doctrine from the interwar period: dogmatism and structuralism. The analysis of some fundamental writings concerning topics such as the foundation and the social structure of the international legal order tries to offer a reading lens on some of the most important scientific trends (especially ‘realism’ and ‘neo-normativism’) of the post-World War II period and on the scholars that animated such approaches. Thanks to the identification of some structuring ideas, it will then be possible to briefly examine other issues concerning, for instance, the relationship between international and domestic law after the 1948 Republican Constitution, sovereignty, etc. The evolution of the methodology of international law will have a relevant part in the analysis of theoretical approaches developed by Italian scholars in this period.


2016 ◽  
Vol 48 (2) ◽  
pp. 382-386 ◽  
Author(s):  
Nell Gabiam

The term humanitarianism finds its roots in 19th-century Europe and is generally defined as the “impartial, neutral, and independent provision of relief to victims of conflict and natural disasters.” Behind this definition lies a dynamic history. According to political scientists Michael Barnett and Thomas G. Weiss, this history can be divided into three phases. From the 19th century to World War II, humanitarianism was a reaction to the perceived breakdown of society and the emergence of moral ills caused by rapid industrialization within Europe. The era between World War II and the 1990s saw the emergence of many of today's nongovernmental and intergovernmental organizations. These organizations sought to address the suffering caused by World War I and World War II, but also turned their gaze toward the non-Western world, which was in the process of decolonization. The third phase began in the 1990s, after the end of the Cold War, and witnessed an expansion of humanitarianism. One characteristic of this expansion is the increasing prominence of states, regional organizations, and the United Nations in the field of humanitarian action. Their increased prominence has been paralleled by a growing linkage between humanitarian concerns and the issue of state, regional, and global security. Is it possible that, in the 21st century, humanitarianism is entering a new (fourth) phase? And, if so, what role have events in the Middle East played in ushering it in? I seek to answer these questions by focusing on regional consultations that took place between June 2014 and July 2015 in preparation for the first ever World Humanitarian Summit (WHS), scheduled to take place in Istanbul in May 2016.


Muzikologija ◽  
2016 ◽  
pp. 27-50
Author(s):  
Kristina Parezanovic

This research focuses on the development of art music, music pedagogy and teaching solf?ge in Serbia in the long period stretching from the second half of the 19th century until the present day. In this article I present a chronology of the institutionalisation of the music education system in Serbia; then, I discuss the origins of the influence of Western European artistic-pedagogical practices on Serbian teaching, through the testimonies by Stevan Hristic, Berthold Hartmann, Miloje Milojevic, Stanislav Vinaver, Milan Grol and others. I finish with the presentation of the most important Serbian music pedagogues and their achievements in the period before World War II (Stevan Stojanovic Mokranjac, Isidor Bajic, Miloje Milojevic, Miodrag Vasiljevic) in parallel with the results and practices of the Western European and global music pedagogy. My goal is to observe Serbian approaches to music pedagogy in relation to the question of the possibilities, realistic or hypothetical, to use the educational principles which were in expansion in Europe at the end of the 19 th and beginning of the 20th centuries in Serbian music pedagogy. After examining the methods of teaching solf?ge in the period from the end of World War II until today, I conclude that Serbia has developed its own pedagogic style (even though it is based on the complementarity of several autochthonous and foreign methodical solutions), built upon and supperted by the experience and knowledge of Serbian and foreign attainments in music pedagogy.


2021 ◽  
pp. 285-295
Author(s):  
Fita Chyntia ◽  
Multhahada Ramadhani Siregar ◽  
Roni Hikmah Ramadhan

This paper discusses the absurd character types that exist in Samuel Beckett’s play, Waiting for Godot. Vladimir, Estragon, Pozzo and Lucky are the four contradictory yet dependent characters in the play. The absurd characters reflect the social condition of the time, post – World War II. The characters are pictured waiting for the completion of the war in the hope that it will come. Their fate can be changed instantly, the same as the state of war. Besides discussing the characters in the drama, this paper also discusses the characteristics of the language used by the characters. The language used is unreasonable, not in accordance with what is said or how they act; it is called “verbal nonsense”. The interpretations of the dialogue among the characters in the play will give a better picture of each character and how they can be related to societal conditions. Keywords: Theater of Absurd, Character Types, Post-War, Social Condition


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