scholarly journals L’Affaire Salman Rushdie: symptôme d'un « Clash of Civilizations »?

2005 ◽  
Vol 28 (1) ◽  
pp. 27-45
Author(s):  
Francis Dupuis-Déri
Keyword(s):  
New York ◽  
Political Culture ◽  
International Conflict ◽  
Salman Rushdie ◽  
The Other ◽  
International Conflicts ◽  
Clash Of Civilizations ◽  
Margaret Thatcher ◽  
Satanic Verses ◽  
Financial Interests

Samuel Huntington proclaimed in an already well-known article ("Clash of Civilizations?") that deep incompatibilities between great civilizations will be the primary cause of future international conflicts. Conflicts will be cultural rather than economic or ideological. To test the validity of this claim, I analyse an international conflict which is truly cultural : the "Salman Rushdie Affair". This affair was provoked by the publication of Rushdie's novel, The Satanic Verses. By studying the motives of the actors in this event (the novelist Salman Rushdie, the imam Ruhollah Musavi Khomeini and the politician Margaret Thatcher), it seems at first sight that they were driven by political or financial interests. But a closer analysis shows that these actors were directed by cultural motivations. Does this prove that Huntington's thesis is right ? No, since even if the actors tried to defend a vision of their culture, there is no such a thing as monolithical civilizations but rather, there are only multicultural civilizations. Indeed, many people from the West refused to defend Rushdie, many Muslims condemned Khomeini's fatwa and Thatcher promoted only one aspect of Western political culture. Values are transnational and an Iranian may cherish the same values as an inhabitant of New York, while, on the other hand two Londonners living in the same flat dream about killing the other over the abortion issue.

Freedom of Speech

2013 ◽  
Author(s):  
Anne Norton
Keyword(s):  
Public Sphere ◽  
Free Speech ◽  
Salman Rushdie ◽  
Freedom Of Speech ◽  
Clash Of Civilizations ◽  
The West ◽  
Van Gogh ◽  
Satanic Verses ◽  
Ayatollah Khomeini ◽  
Charlie Hebdo

This chapter examines how the Muslim question has been linked to the question of freedom of speech. A clash of civilizations that saw the West as the realm of enlightenment, and Muslims in the realm of religion, custom, and tradition, has long been part of spectacles in the Western public sphere. Ayatollah Khomeini gave new life to these civilizational theatrics when he issued a fatwa calling for the assassination of Salman Rushdie, whose The Satanic Verses became the center of a controversy that cast freedom of speech as a Muslim question. However, the martyr to free speech was not Rushdie but Theo van Gogh, the murdered producer of the film Submission. The chapter shows how the dramas surrounding Rushdie, van Gogh, the Danish cartoons and the satirical magazine Charlie Hebdo's copycat cartoon provocations mark Muslims as the enemies of free speech.

scholarly journals International Conflict between Law and Expediency

2009 ◽  
pp. 89-96
Author(s):  
D. M. Fel’dman
Keyword(s):  
International Law ◽  
International Conflict ◽  
World System ◽  
The Other ◽  
International Conflicts ◽  
Global State ◽  
The Stability ◽  
The One ◽  
International Systems

The author examines the inconsistency between regulations currently in force and international law principles on the one hand and requirements of expediency and effectiveness of behavior of participants of international conflicts – on the other. The author reveals interconnections between the stability of individual international systems’ and global state-centric world system and conflicts and scenarios of interactions among actors of international conflicts.

Reanalysing International Conflicts: Proposals from the Sociology of Power

2019 ◽  
Vol 56 (4) ◽  
pp. 255-271
Author(s):  
Guillem Farrés-Fernández
Keyword(s):  
Theoretical Approach ◽  
Social System ◽  
Power Relations ◽  
International Conflict ◽  
Theoretical Framework ◽  
The Other ◽  
International Conflicts ◽  
Power Resources ◽  
Abstract Entities

This article opens a dialogue between different notions of conflict and the sociology of power and suggests a new theoretical framework for the analysis of international conflicts. Refusing to consider abstract entities as actors, it helps us better determine who the relevant actors are in each international conflict and gives special attention to the existing power relations between them. Accordingly, it is considered that a large social system is made up of numerous actors with multiple conflicts between them. Thus, in the case of international conflicts, we do not face one single conflict, but a conflictual complex involving a multitude of actors with their different power resources, who weave a network of conflicts and power relations between them, and at its top a dominant conflict, the conflict around which the other conflicts evolve. Acknowledging the complexity of international conflicts, this new theoretical approach should better explain both the behaviour of the actors and the evolution of the conflictual complex itself.

Review: Islam and politics in Iranian Kurdistan at a time of revolution: the life of Ahmad Moftizadeh

2017 ◽  
Vol 5 (1) ◽  
pp. 80-87
Author(s):  
Martin Van Bruinessen
Keyword(s):  
New York ◽  
Middle East ◽  
Political Order ◽  
The Other ◽  
Islam And Politics ◽  
Cultural Rights ◽  
Revolutionary Regime

Ali Ezzatyar, The Last Mufti of Iranian Kurdistan: Ethnic and Religious Implications in the Greater Middle East. New York: Palgrave Macmillan, 2016. xv + 246 pp., (ISBN 978-1-137-56525-9 hardback).For a brief period in 1979, when the Kurds had begun confronting Iran’s new Islamic revolutionary regime and were voicing demands for autonomy and cultural rights, Ahmad Moftizadeh was one of the most powerful men in Iranian Kurdistan. He was the only Kurdish leader who shared the new regime’s conviction that a just social and political order could be established on the basis of Islamic principles. The other Kurdish movements were firmly secular, even though many of their supporters were personally pious Muslims.

From the New York Herald to the Italian screen

2017 ◽  
Vol 3 (2) ◽  
pp. 175-193 ◽  
Author(s):  
Katherine Frances Nagels
Keyword(s):  
New York ◽  
The Other ◽  
Comic Strip ◽  
Women In The Workplace

The popular 1907–9 American newspaper comic strip character Fluffy Ruffles was an iconic embodiment of contemporary American femininity between the eras of the Gibson Girl and the later flapper and “it” girl. This article discusses Fluffy Ruffles as a popular phenomenon and incarnation of anxieties about women in the workplace, and how she underwent a metamorphosis in the European press, as preexisting ideas of American youth, wealth, and liberty were grafted onto her character. A decade after her debut in the newspapers, two films—Augusto Genina's partially extant Miss Cyclone (La signorina Ciclone,1916), and Alfredo Robert's lost Miss Fluffy Ruffles (1918)—brought her to the Italian screen. This article looks at how the character was interpreted by Suzanne Armelle and Fernanda Negri Pouget, respectively, drawing on advertisements and the other performances of Negri Pouget to reconstruct the latter. The article is illustrated with drawings and collages based on the author's research.

Producers' Response to Changes in Prices and Marketing Policies: A Case Study of Sugarcane and Paddy in Eastern U.P. by S. C. Gupta and A. Majid. New York: Asia Publishing House, 1965.

1968 ◽  
Vol 8 (2) ◽  
pp. 308-309
Author(s):  
Mohammad Irshad Khan
Keyword(s):  
New York ◽  
Time Series ◽  
Time Series Data ◽  
Publishing House ◽  
Economic Incentives ◽  
The Other ◽  
Series Data ◽  
Poor Countries ◽  
Northern India

It is alleged that the agricultural output in poor countries responds very little to movements in prices and costs because of subsistence-oriented produc¬tion and self-produced inputs. The work of Gupta and Majid is concerned with the empirical verification of the responsiveness of farmers to prices and marketing policies in a backward region. The authors' analysis of the respon¬siveness of farmers to economic incentives is based on two sets of data (concern¬ing sugarcane, cash crop, and paddy, subsistence crop) collected from the district of Deoria in Eastern U.P. (Utter Pradesh) a chronically foodgrain deficit region in northern India. In one set, they have aggregate time-series data at district level and, in the other, they have obtained data from a survey of five villages selected from 170 villages around Padrauna town in Deoria.

Alive Still

2019 ◽  
Author(s):  
Cathy Curtis
Keyword(s):  
New York ◽  
Modern Art ◽  
Severe Form ◽  
The Other ◽  
Left Hand ◽  
Right Hand ◽  
The 1950S ◽  
Village Voice

In 1942, at age twenty, after a vision-impaired and rebellious childhood in Richmond, Virginia, Nell Blaine decamped for New York. Operations had corrected her eyesight, and she was newly aware of modern art, so different from the literal style of her youthful drawings. In Manhattan, she met rising young artists and poets. Her life was hectic, with raucous parties in her loft, lovers of both sexes, and freelance design jobs, including a stint at the Village Voice. Initially drawn to the rigorous formalism of Piet Mondrian, she received critical praise for her jazzy abstractions. During the 1950s, she began to paint interiors and landscapes. By 1959, when the Whitney Museum purchased one of her paintings, her career was firmly established. That year, she contracted a severe form of polio on a trip to Greece; suddenly, she was a paraplegic. Undaunted, she taught herself to paint in oil with her left hand, reserving her right hand for watercolors. In her postpolio work, she achieved a freer style, expressive of the joy she found in flowers and landscapes. Living half the year in Gloucester, Massachusetts, and the other half in New York, she took special delight in painting the views from her windows and from her country garden. Critics found her new style irresistible, and she had a loyal circle of collectors; still, she struggled to earn enough money to pay the aides who made her life possible. At her side for her final twenty-nine years was her lover, painter Carolyn Harris.

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