A representação de outsiders em Estranhos no Paraíso

O objetivo deste artigo é analisar o filme Estranhos no Paraíso (Stranger than Paradise, 1984), do cineasta estadunidense Jim Jarmusch. Propomos uma reflexão sobre o fato de que, ao longo do século XX, “imagens modelares” do American way of life constituíram uma das várias configurações estadunidenses das relações estabelecidos-outsiders, com o apoio da mídia e da indústria cultural. Desta forma, a análise fílmica de Estranhos no Paraíso terá como um dos principais aportes teóricos a concepção de outsiders. Partiremos da questão: como o filme Estranhos no Paraíso mostra uma representação crítica das relações estabelecidos-outsiders instauradas pelo american way of life?

Conflict and the history of conflict mediation

Mediation has represented and represents an alternative for state justice that impartially solves a conflict between two parties. Mediation used to exist from the early times of the civilization, and in the form we see it nowadays appeared in Europe ‘90s through the American way, as through Directive CE / 52/2008 of the European Parliament, all the Member States needed to take steps in including the mediation in civil and commercial cases where issues appear most frequently related to the parties’ affiliation to different and cross-border legal systems. In Romania, the mediation institution operates based on Law no. 196/2006 in regards to mediation and mediator profession, and in the Republic of Moldova based on Law no. 137/2015 in regards to mediation. We consider that analyzing the history of the mediation institution could help strengthen citizens’ trust in this way of resolving voluntary and alternative disputes through a mediator.

Slavery and the “American Way of War,” 1607–1861

Slavery and warfare were inextricably intertwined in the history of Britain’s North American colonies and, subsequently, the early republic. Yet this deep connection has not been acknowledged in the historiography. In particular, the debate about an “American way of war” has neglected the profound significance of slavery as a formative factor in America’s “first way of war.” Here, these two forms of organized, systemic violence are considered not merely within a comparative framework but as phenomena whose relationship is so deeply enmeshed that they cannot be meaningfully understood in isolation. Slavery is thus placed centrally in an examination of American war making, from the colonial to the antebellum period. Three main areas are highlighted: slave raiding against Native Americans, slavery as a factor in imperial and national strategy-making and diplomacy, and slavery as an “internal war.”

Judge Not: Don’t let disagreements lead to disdain

“I’m all for helping refugees, but some cultures just don’t fit with the American way of life.” So said my airplane seatmate a few years ago. He and I were in a heated discussion—should the United States admit more refugees from war-ravaged Syria? As someone who has done research on how forcibly displaced populations cope with the impact of political violence, I had strong views on the topic. Of course, a degree in psychology does not make me a specialist in the complexities of refugee policy in my adopted country. I couldn’t rattle off statistics or deeply informed analyses of resettlement issues. Yet my first instinct when hearing my seatmate’s claim was to challenge him. And, in the back of my mind, to judge him.

COMÉDIAS ROMÂNTICAS

O presente artigo busca, através de referencial bibliográfico da antropologia do consumo, comunicação, cinema, história e cultura, expor alguns elementos perceptíveis nos filmes do gênero comédia romântica. Para tal propósito, numa acepção interdisciplinar, são apresentados elementos que caracterizam os filmes comédia romântica e o seu contexto social e cultural de origem: os Estados Unidos. Não deixa de ser uma relação hegemônica, que se instala primeiramente como um produto cinematográfico, mas, também, como um meio de propagação ideológica e cultural. Evidenciado fica, ao término deste artigo, que as comédias românticas inscrevem no imaginário público noções existência social, cultural, bem como diferentes formas de consumo, sendo que, assim, estimulam ao american way of life como padrão a ser desejado, ambicionado e seguido, visto que o cinema jamais deixa de ser um veículo de comunicação de massa com amplo apelo e permeabilidade cultural.