Classical Memories/Modern Identities Paul Allen Miller and Richard H
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Critical Inquiry As Virtuous Truth-Telling: Implications of Phronesis and Parrhesia ______
______________________________________________________________________________ Critical Inquiry as Virtuous Truth-Telling: Implications of Phronesis and Parrhesia ______________________________________________________________________________ Austin Pickup, Aurora University Abstract This article examines critical inquiry and truth-telling from the perspective of two comple- mentary theoretical frameworks. First, Aristotelian phronesis, or practical wisdom, offers a framework for truth that is oriented toward ethical deliberation while recognizing the contingency of practical application. Second, Foucauldian parrhesia calls for an engaged sense of truth-telling that requires risk from the inquirer while grounding truth in the com- plexity of human discourse. Taken together, phronesis and parrhesia orient inquirers to- ward intentional truth-telling practices that resist simplistic renderings of criticality and overly technical understandings of research. This article argues that truly critical inquiry must spring from the perspectives of phronesis and parrhesia, providing research projects that aim at virtuous truth-telling over technical veracity with the hope of contributing to ethical discourse and social praxis. Keywords: phronesis, praxis, parrhesia, critical inquiry, truth-telling Introduction The theme of this special issue considers the nature of critical inquiry, specifically methodological work that remains committed to explicit goals of social justice and the good. One of the central concerns of this issue is that critical studies have lost much of their meaning due to a proliferation of the term critical in educational scholarship. As noted in the introduction to this issue, much contemporary work in education research that claims to be critical may be so in name only, offering but methodological techniques to engage in critical work; techniques that are incapable of inter- vening in both the epistemological and ontological formations of normative practices in education. -
Digital Parrhesia 2.0: Moving Beyond Deceptive Communications Strategies in the Digital World François Allard-Huver, Nicholas Gilewicz
Digital Parrhesia 2.0: Moving beyond deceptive communications strategies in the digital world François Allard-Huver, Nicholas Gilewicz To cite this version: François Allard-Huver, Nicholas Gilewicz. Digital Parrhesia 2.0: Moving beyond deceptive communi- cations strategies in the digital world. Handbook of Research on Digital Media and Creative Tech- nologies, pp.404-416, 2015, 978-1-4666-8205-4. 10.4018/978-1-4666-8205-4.ch017. hal-02092103 HAL Id: hal-02092103 https://hal.archives-ouvertes.fr/hal-02092103 Submitted on 7 Apr 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Digital Parrhesia 2.0: Moving beyond Deceptive Communications Strategies in the Digital World François Allard-Huver Sorbonne University, France Nicholas Gilewicz University of Pennsylvania, USA ABSTRACT Deceptive communications strategies are further problematized in digital space. Because digitally mediated communication easily accommodates pseudonymous and anonymous speech, digital ethos depends upon finding the proper balance between the ability to create pseudonymous and anonymous online presences and the public need for transparency in public speech. Analyzing such content requires analyzing media forms and the honesty of speakers themselves. This chapter applies Michel Foucault’s articulation of parrhesia—the ability to speak freely and the concomitant public duties it requires of speakers—to digital communication. -
An Antihumanist Reinterpretation of the Philosophy of Singularity 2016/27 245
An Antihumanist Reinterpretation of the Philosophy of Singularity 2016/27 245 Kaygı Uludağ Üniversitesi Fen-Edebiyat Fakültesi Felsefe Dergisi Uludağ University Faculty of Arts and Sciences Journal of Philosophy Sayı 27 / Issue 27│Güz 2016 / Fall 2016 ISSN: 1303-4251 Research Article Araştırma Makalesi Dilara BİLGİSEL İstanbul Bilgi Üniversitesi, Sosyal ve Beşeri Bilimler Fakültesi, İstanbul-Türkiye Istanbul Bilgi University, Faculty of Social Sciences, Philosophy and Social Thought, Istanbul-Turkey [email protected] An Antihumanist Reinterpretation of the Philosophy of Singularity Abstract This article takes a close look at the discussion of singularity in Jean-Luc Nancy’s The Inoperative Community and Being Singular Plural as an attempt to negate the subject/object dichotomy and create a new context for a re-evaluation of resistance. With its aim of refuting individualistic subjectivity, the philosophy of singularity puts forward that the humanist point of view unnecessarily polarizes individuality and community. By placing a challenging scenario of antihumanism against the humanist sense of responsibility, the philosophy of singularity questions whether it is possible to do philosophy without saying ‘I’. This antihumanist stance, which replaces the ‘I’/‘other’ differentiation with Nancy’s ‘the other of another,’ chooses to strengthen the link between ontology and resistance in the notion of coexistence, beyond traditional hypotheses on immanence or transcendence. In order to discover the manifestation of coexistence within the frame of an antihumanist philosophy of singularity, this article begins with digging deep under the notion of individualistic subjectivity to show that it embodies a hollow and plastic category. Following this, Nancy’s stress on the term ‘ecstasy’ will be grounded upon the Freudian theory of drives and the concept of coexistence will be situated in a dark realm that the humanist worldview would expect in the least. -
Adopting a Posthumanist Ethics to Inform Value Sensitive Design
philosophies Article The Ecological Turn in Design: Adopting a Posthumanist Ethics to Inform Value Sensitive Design Steven Umbrello Institute of Ethics and Emerging Technologies (IEET), University of Turin, 10124 Turin, Italy; [email protected] Abstract: Design for Values (DfV) philosophies are a series of design approaches that aim to incorpo- rate human values into the early phases of technological design to direct innovation into beneficial outcomes. The difficulty and necessity of directing advantageous futures for transformative technolo- gies through the application and adoption of value-based design approaches are apparent. However, questions of whose values to design are of critical importance. DfV philosophies typically aim to enrol the stakeholders who may be affected by the emergence of such a technology. However, regardless of which design approach is adopted, all enrolled stakeholders are human ones who propose human values. Contemporary scholarship on metahumanisms, particularly those on posthumanism, have decentred the human from its traditionally privileged position among other forms of life. Arguments that the humanist position is not (and has never been) tenable are persuasive. As such, scholarship has begun to provide a more encompassing ontology for the investigation of nonhuman values. Given the potentially transformative nature of future technologies as relates to the earth and its many assemblages, it is clear that the value investigations of these design approaches fail to account for all relevant stakeholders (i.e., nonhuman animals). This paper has two primary objectives: (1) to argue for the cogency of a posthuman ethics in the design of technologies; and (2) to describe how existing DfV approaches can begin to envision principled and methodological ways of incorporating Citation: Umbrello, S. -
Late Sophocles: the Hero's Evolution in Electra, Philoctetes, and Oedipus
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE Late Sophocles Late Sophocles The Hero’s Evolution in Electra, Philoctetes, and Oedipus at Colonus Thomas Van Nortwick University of Michigan Press Ann Arbor Copyright © Thomas Van Nortwick 2015 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and ex- cept by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2018 2017 2016 2015 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Van Nortwick, Thomas, 1946– . Late Sophocles : the hero’s evolution in Electra, Philoctetes, and Oedipus at Colonus / Thomas Van Nortwick. pages cm Includes bibliographical references and index. ISBN 978- 0- 472- 11956- 1 (hardcover : alk. paper) — ISBN 978- 0- 472- 12108- 3 (ebook) 1. Sophocles— Criticism and interpretation. 2. Sophocles. Electra. 3. Sophocles. Oedipus at Colonus. 4. Sophocles. Philoctetes. I. Title. PA4417.V36 2015 882'.01— dc23 2014049364 For Nathan Greenberg colleague, mentor, and friend Preface Oh children, follow me. I am your new leader, as once you were for me. (Sophocles, Oedipus at Colonus 1542– 431) Sophocles’s Oedipus at Colonus ends with his most famous character walking serenely through the central doors of the stage building (skēnē) in the Theater of Dionysus and into the grove of the Eumenides. -
A Case of Parrhesia: Courage in Discourse and Its Effects
Original Article A CASE OF PARRHESIA: COURAGE IN DISCOURSE AND ITS EFFECTS Thiago Barbosa SOARES* ▪ ABSTRACT: This article aims to analyze the meanings of parrhesia and its effects in a statement by a Brazilian federal representative, that breaks with hegemonic discourse. More precisely, we describe and interpret how the production and emergence of parrhesia functions to configure meanings in a statement constituted and developed within the vote regarding the impeachment of President Dilma Rousseff’s mandate in 2016, delivered by Jean Wyllys. In this way, considering the postulate of Discourse Analysis, developed by Pêcheux, in which subject and meaning are constructed simultaneously in the historical movement, we hold that parrhesia, as Foucault observes it in his final works, produces, simultaneously, certain meanings and subjects circulating in the social space. Given this conceptual framework, we employ the theoretical and methodological tools of Discourse Analysis to investigate how truth-telling is constructed and what its effects are on the treadmill of resistance against discursive hegemony. ▪ KEYWORDS: discourse analysis; parrhesia; Jean Wyllys. Introduction A ‘discourse’ is not an infrastructure; nor is it another word for ‘ideology’. In fact, it is, rather, the opposite, despite what is often claimed either in writing or by word of mouth. (VEYNE, 2008, p.28) Paul Veyne is right in saying what discourse is not, in order to dispel certain existing interpretations about discourse. Likewise, eschewing generic readings of discourse is desirable and even necessary in the scope of our object of investigation, since the exercise of parrhesia - which “implies speech equality, the right to speak”, that is, isegory -, as understood by Michel Foucault, it is more than truth-telling, it is an ethical act whose implication is the conjuration of the effects of the discourse. -
Greek Tragedy in Modern Greece
ALL IS WELL THAT ENDS TRAGICALLY: FILMING GREEK TRAGEDY IN MODERN GREECE ANASTASIA BAKOGIANNI The king’s a beggar now the play is done: All is well ended, if this suit be won, That you express content; which we will pay With strife to please you, day exceeding day. Ours be your patience, then, and yours our parts: Your gentle hands lend us, and take our hearts. William Shakespeare, All’s Well that Ends Well What does it take to adapt Greek tragedy successfully for the cinema?’ The debate centres on the issue of authenticity2 as well as the question of the successful integration of tragedy into the cinematic medium. The problematic nature of any attempt to adapt Greek tragedy for the cinema makes it a particularly challenging enterprise for filmmakers.3 In comparison with the cinematic reception of other aspects of ancient Greece and Rome, attempts to film Greek tragedy offer us fewer examples to work but they do attract the talents of some of the world’s best independent film directors,5 who have created some remarkable cincmatic receptions. ’ This is an exciting and ongoing debate and one articlc cannot hope to encompass all the issues concerned. The present article will focus on one aspect of this debate and is indebted to the pioneering work of Professor Marianne McDonnald and Dr Pantelis Michelakis in the field of the reception of Greek Drama on film. The author is also greatly indebted to Professor Mike Edwards and Professor Charles Chiasson for their many helpful suggestions. I am also indebted to Mr. -
A Study in Form: Recognition Scenes in the Three Electra Plays*
A Study in Form: Recognition Scenes in the Three Electra Plays* The effects of recognition have to do with know- ledge and the means of acquiring it, with secrets, disguises, lapses of memory, clues, signs, and the like, and this no doubt explains the odd, almost asymmetrical positioning of anagnorisis in the domain of poetics… Structure and theme, poetics and interpretation, are curiously combined in this term… Terence Cave1 The fortuitous survival of three plays by each of the three tragic poets on the same story offers an unparalleled opportunity to consider some of the formal aspects of the genre, those which dictate the limits and possibilities of its dramatic enactment. Three salient elements constitute the irreducible minimum that characterizes the Orestes-Electra plot and is by necessity common to all three versions. These consist of nostos (return), anagnorisis (recognition) and mechanêma (the intrigue). This se- quence is known to us already from the Odyssey as the masterplot in the story of Odysseus himself and his return home, and it will come into play once again, nota- bly in Euripides’ version. Yet, at the same time, the Odyssey already contains the story of Orestes, who returns home to avenge his father, and it is this deed that pro- vides a contrapuntal line to the main story, which is that of the trials of Odysseus, his homecoming, his eventual vengeance on the suitors, and revelation of identity to friends and kin. The epic, however, gives only the bare facts of Orestes’ deed, which are recorded at the very outset in the proem (Od. -
Inhuman Power: Infrastructural Modernism and the Fiction of Social Form
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Inhuman Power: Infrastructural Modernism And The Fiction Of Social Form Natalie Amleshi University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Modern Literature Commons, and the Other History Commons Recommended Citation Amleshi, Natalie, "Inhuman Power: Infrastructural Modernism And The Fiction Of Social Form" (2019). Publicly Accessible Penn Dissertations. 3442. https://repository.upenn.edu/edissertations/3442 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3442 For more information, please contact [email protected]. Inhuman Power: Infrastructural Modernism And The Fiction Of Social Form Abstract E.M. Forster’s imperative to “only connect” has long been read as modernist slogan for the rarefied depth of authentic interpersonal intimacy. Reframing the historical co-emergence of literary modernism and modern social science, this project tells a different story—not of connections between exceptional humans, but of connections between persons and environments. The prevailing canons of modernism have not yet grasped the internal complexity of early-twentieth-century debates regarding the interdependence of human and nonhuman agency. Early-twentieth-century sociologists like Émile Durkheim grounded both the autonomy of human culture and the disciplinary authority of sociology on the premise of species exceptionalism—the independence -
Sophocles' Electra
Sophocles’ Electra Dramatic action and important elements in the play, scene-by-scene Setting: Mycenae/Argos Background: 15-20 years ago, Agamemnon (here named as grandson of Pelops) was killed by his wife and lover Aegisthus (also grandson of Pelops). As a boy, Orestes, was evacuated by his sister Electra and the ‘Old Slave’ to Phocis, to the kingdom of Strophius (Agamemnon’s guest-friend and father of Pylades). Electra stayed in Mycenae, preserving her father’s memory and harbouring extreme hatred for her mother Clytemnestra and her lover Aegisthus. She has a sister, Chrysothemis, who says that she accepts the situation. Prologue: 1- 85 (pp. 169-75) - Dawn at the palace of Atreus. Orestes, Pylades and the Old Slave arrive. Topography of wealthy Argos/Mycenae, and the bloody house of the Atreids. - The story of Orestes’ evacuation. ‘It is time to act!’ v. 22 - Apollo’s oracle at Delphi: Agamemnon was killed by deception; use deception (doloisi – cunning at p. 171 is a bit weak) to kill the murderers. - Orestes’ idea to send the Old Slave to the palace. Orestes and Pylades will arrive later with the urn containing the ‘ashes’ of Orestes. «Yes, often in the past I have known clever men dead in fiction but not dead; and then when they return home the honour they receive is all the greater» v. 62-4, p. 173 Orestes like Odysseus: return to house and riches - Electra is heard wailing. Old slave: “No time to lose”. Prologue: 86-120 (pp. 175-7) - Enter Electra, who addresses the light of day. -
Elektra 2017
B Y J ANE G ANAHL The Many Faces of S E G A M I N A M E G Elektra D I R B ou may have seen her in the form of Jennifer YGarner’s sword-wielding assassin in the 2005 film Elektra , on stage as a bitter Civil War spin - ster in Eugene o’Neill’s Mourning Becomes Electra , in the words of Sylvia Plath’s controversial poem “Electra on Azalea Path,” in the famed portrait by Frederic Leighton, Electra at the Tomb of Agamemnon , and indeed, in Richard Strauss’ opera Elektra* . K U , In the 2,000-plus years since her name was first S M U etched on paper, Electra—the myth, the character—has E S U inspired dozens, if not hundreds, of works of theater, lit - M L L erature, art, opera, and psychoanalysis. Around a cen - U H , tury ago, Swiss psychiatrist Carl Jung suggested there y R E L was an “Electra complex” suffered by many little girls L A G who were in love with their fathers in competition with T R A their mothers, thus tainting forever the innocent tag S N E “Daddy’s little girl.” R E F Even today, the vengeful, father-worshipping anti-heroine / S E of Sophocles’ tragedy continues to fascinate and perturb G A M I us—perhaps in part because her story of familial murder N A and mayhem makes Game of Thrones pale in comparison. M E G In the years following the Trojan War, Electra has waited D I R B for nearly a decade for the return of her brother orestes *When referring to the Sophocles play, the standard English spelling is “Electra.” “Elektra” is the German spelling. -
Resaying the Human: Levinas Beyond Humanism and Antihumanism, 2010
Resaying the Human Resaying the Human In this reading of the French philosopher Emmanuel Levinas a notion of the human is developed through an engagement with his philosophy. The argument is that, with the help of Levinas, it is possible for the idea of the human to be understood anew, for the notion to be ‘resaid’. This resaying of the human is performed in a self-critical way: Levinas’s work is shown not to be a new variation of the complacent ideology of humanism; the idea of the human is instead interpreted to be the bearer of the very movement of critique. Here Levinas is offered as a modern thinker of particular relevance for contemporary discussions surrounding the nature both of the political and of Human Rights. In addition one finds a systematic analysis of the major works of Levinas, unraveling how a notion of the human develops from within his philosophy. Levinas’s thought is placed alongside the philosophical figures of his time, such as Heidegger, Sartre, Bataille, Lévi-Strauss, Althusser, Foucault and Derrida, as well as with more recent political thinkers, for example, Alain Badiou, Giorgio Agamben and Jacques Rancière. Levinas Beyond Humanism and Antihumanism Carl Cederberg Carl Cederberg Södertörns högskola Södertörn Doctoral Dissertations 52 Biblioteket [email protected] S-141 89 Huddinge www.sh.se/publications Resaying the Human Levinas Beyond Humanism and Antihumanism Carl Cederberg Södertörns högskola Södertörns högskola S-141 89 Huddinge 2010 www.sh.se/publications Cover & Cover Image: Rafael B. Garrida Graphic