Suchergebnisse

Starting from Agamben's term "Gesture" -- interpreted as "communication of communicability" -- and having in mind links between Gesture & politics, this text opens the possibility of reading Guy Debord's ideas into the heterotopia of the Prologue of "Dundo Maroje" by Croatian Renaissance playwright Marin Drzic. In this way, the possibility of cultural criticism has been tested on the basis of an insight into social performances structured as acts in a play; from the crisis & the culmination to the dramatic solution, & back again. The title syntagm "theatre of shame" is being argumented with the thesis that spectacularized societies archive shame by false identity witnessing. This paper suggests that our confrontation with the Other in ourselves -- exemplified through the lack of capacity to witness identity in the media -- leads to what Agamben describes as the slipping away of the truth of witnessing from the jurisdiction of the archive. Adapted from the source document.

The author distinguishes four levels of integration: regional, national, European, & global. The identity issue occurs at the national & European levels. National identities are subject to constant change, particularly in Europe, dominated by the processes of integration & globalization. Today, the new identities of European states emerge from "the vertical confrontation" (with the "higher order" identity), & not from the "horizontal relations" with other nations. Culture is essential in the development of a common European identity. The new European identity is not going to isolate Europe from the rest of the world. As a matter of fact, the European integration is but a single step in the direction of the global integration, & European identity a stage in achieving the fourth identity level.

The author presents a thesis about the difference between cultural/historical & political identity by distinguishing the cultural/historical majorities & minorities from the political winners & losers. He points to the democratic paradox according to which states are not ruled by the losers' political majorities but by the winners' political minorities. According to the author, in multiethnic societies, it is necessary to equally develop the popular & the political culture -- that is both cultural & political tolerance. Adapted from the source document.

The author presents the thesis about the difference between the cultural/historical and the political identity by distinguishing the cultural/historical majorities and minorities from the political winners and losers. He points to the democratic paradox according to which states are not ruled by the losers' political majorities but by the winners' political minorities. According to the author, in multi-ethnic societies it is necessary to equally develop the popular and the political culture - that is the culture and political tolerance. (SOI : PM: S. 56)

Discusses the possibility, meaning, & definition of a prospective supranational identity, a concept assuming greater importance at the close of the 20th century. A primary focus of the analysis is on subjective interpretations of supranationality, eg, the correlation between supranationality & group identity. In an attempt to determine whether a true supranational identity actually exists, the elements that compose such an identity are defined: interdependence, normative universalism, global outlook, & world order. It is concluded that a supranational identity is not only extant, but necessary. 27 References. Adapted from the source document.