The Struggles of the Kretek Workers in Iksaka Banu’s Novel, Sang Raja (The King)

Novel is able to present the development of one character, complex social situations, relationships involving many or few characters, and complicated events that occurred several years ago in detail. Novel The King was written by Iksana Banu, an famous Indonesian author and artist. He published the novel in 2017. The King tell the story about people who work in Kretek Cigarette factory. They have to struggle how to defend the cigarette factory from competition with other factories, and worldwide economic depression. The main character, Philip Gerardus Rechterhand, a Dutch man who borned in Indonesia. Intrinsic (character and setting), and extrinsic (sociology of literature, personality theory, and history) approaches are using to analyze this research. Kretek become part of society life, and many people have economic dependence on the kretek factory.

Processes and Prevention

The proposed analysis of causation is compatible with allowing that there are ways to distinguish the variety that falls under it. The same characteristics as those who take causation to involve substantial causal processes characterize kinds of causation without these characteristics themselves serve to characterize causation in general. This is an advantage because the theories that make an appeal to substantial processes in understanding causation face considerable difficulties. The attempt to tie causation to the presence of substantial causal processes between cause and effect fails to be justified by appeal to responsibility, or by its capacity to make sense of causal locality and the intrinsic character of causal processes. Some claim that a counterfactual theory closes off certain options with regard to the property understanding of Bell inequalities. This is not the case.

s.VIII Boundaries, Ch.34 Transnational Crimes

This chapter focuses on transnational crimes. Though these were long part of the international criminal law (ICL) canon, it is only late in the discipline’s history that they became conceived as being something distinct. As such, while this chapter envisages the history of ICL, it also focuses more on the origin of the distinction in the Draft Code of Crimes Against the Peace and Security of Mankind. This distinction, which became quite influential, foregrounded crimes under general international law and crimes of international concern as two separate categories. However, this chapter takes a skeptical view of the distinction, noting the ‘question begging’ character of defining international crimes on the basis of an implicitly accepted notion of what international crimes are. But this is not to say that the attempt at drawing distinctions is fruitless—in fact, it sustains relevant conversations about, for example, the intrinsic character of gravity of various crimes in relation to each other. But, as this chapter shows, it does point to an irreducible element of faith in any act of prioritization.

Between (in)Visible Influences and (Im)Pure Traditions: Hybrid Character of the Postdramatic in Lithuanian Theatre

Summary Lithuanian theatre has always been known for its visual metaphors and dramaturgy of directorial images, where the language of literary text is translated into visual metaphors created on stage by a director. Due to this quality, some critics have argued that Lithuanian theatre has been demonstrating postdramatic characteristics for a long time. However, one should note that visual metaphors of modern Lithuanian theatre have been based on and controlled by literary text and never quite established a more autonomous and self-contained visuality. Dramatic text remained the point of departure whether the director chose to illustrate or concretise it, to transform or deform it. However, in post-Soviet Lithuanian theatre, these relations have been gradually turning discontinuous, their intensity often varied within the framework of the same performance. Fragmentary cracks, when images, departed from the roles of commentators or illustrators of textual meanings, turned into flashes of independent visions that were seen by the critics as an obvious shift towards a radical image-centric position or, to use the term of Hans-Thies Lehmann, postdramatic theatre. However, the recent performance Lokis (2017, Lithuanian National Drama Theatre) by Polish theatre artist Lukasz Twarkowski, produced twenty years after the initial introduction of the term postdramatic into the Lithuanian context, has paradoxically started a storm of divisive opinions in the Lithuanian theatre milieu. It became the focal point of discussions about the intrinsic character of Lithuanian theatre, especially its embedded attitudes towards drama text and acting—notoriously challenging factors for many international collaborations. The article analyses the ongoing debates about the term postdramatic theatre and its interpretations in Lithuanian theatre criticism, taking the example of Lokis as a case study.

Atiyah Classes of Strongly Homotopy Lie Pairs

The subject of this paper is strongly homotopy (SH) Lie algebras, also known as L∞-algebras. We extract an intrinsic character, the Atiyah class, which measures the nontriviality of an SH Lie algebra A when it is extended to L. In fact, with such an SH Lie pair (L, A) and any A-module E, there is associated a canonical cohomology class, the Atiyah class [αE], which generalizes the earlier known Atiyah classes out of Lie algebra pairs. We show that the Atiyah class [αL/A] induces a graded Lie algebra structure on [Formula: see text], and the Atiyah class [αE] of any A-module E induces a Lie algebra module structure on [Formula: see text]. Moreover, Atiyah classes are invariant under gauge equivalent A-compatible infinitesimal deformations of L.

Justifying republican patriotism

My paper is on the republican version of patriotism and its justification, as developed most systematically by Philip Pettit and Maurizio Viroli. The essence of the justification is as follows: patriotism is to be viewed as valuable insofar as it is an indispensable instrument for the upholding of the central republican ideal, namely freedom understood as non-domination. My primary aim is to evaluate the normative force of this justification. In the first section, I introduce minimal descriptive definitions of the concepts of patriotism and the patria. Second, I reconstruct the republican patria-ideal to which patriotism is linked to. In the third section, I reconstruct the republican justification of patriotism. Finally, I ask what we justify when we justify republican patriotism. Two views are prevalent in this regard. According to the first, republican patriotic motivation, similarly to its justification, ought to be instrumental itself too (Pettit, Viroli). I argue that this view is untenable, since it is in tension with the minimal definition of patriotism. The conclusion is that the other view - according to which the patriotic motivation ought to be of intrinsic character (Miller) - possesses greater normative force.