Humanism built Western civilization as we know it today. Its achievements include the liberation of the individual, democracy, universal rights, and widespread prosperity and comfort. Its ambassadors are the heroes of modern culture—Erasmus, Holbein, Shakespeare, Velázquez, Descartes, Kant, Freud. Those who sought to contain humanism’s pride within a frame of higher truth—Luther, Calvin, Poussin, Kierkegaard—could barely interrupt its torrential progress. Those who sought to reform humanism’s tenets from within—Marx, Darwin, and Nietzsche—were tested by the success of their own (...) prophecies. So runs the approved view. It is not shared by John Carroll. Instead, Carroll articulates a disruptive and compelling alternative narrative of the course of Western civilization since the Renaissance and the Reformation contrived to unleash reason, will, and a superhuman man on the world. The West’s five-hundred-year experiment with humanism has failed, he maintains in this bracing study of humanism’s rise to preeminence and its headlong tumble into contradiction, because humans ultimately need some kind of contact with a higher, or metaphysical, order beyond the confines of their time-bound, mundane selves. And if this wasn’t entirely clear before September 11, 2001, Carroll concludes, it surely is now. His provocative and brilliant arguments will challenge received wisdom on every side. (shrink)

This book examines "Taylorean social theory," its sources, main characteristics and impact. Charles Taylor's meta-narrative of secularization in the West, prominently contained in his major work A Secular Age (2007), has brought new insight on the social and cultural factors that intervened in such process, the role of human agency, and particularly on the contemporary conditions of belief in North America and Europe. This study discusses what Taylor's approach has brought to the scholarly debate on Western secularization, which (...) has been carried on mostly in sociological terms. McKenzie interprets Taylor's views in a way that offers an original social theory. Such interpretation is possible with the help of sociologist Margaret Archer's "morphogenetic theory" and by making the most of Taylor's particular understanding of the method of the social sciences and of his philosophical views on human beings, knowledge and modernity. After exploring the philosophical and sociological sources informing Taylorean social theory and proposing its basic concepts and hermeneutic guidelines, the author compares it with two widespread theories of secularization: the now waning "orthodox" account and that proposed by Rational Choice Theory scholars, particularly prevalent in the United States. In doing so, the book shows in which ways Taylorean social theory supersedes them, what new issues it brings into the scholarly discussion, and what difficulties might limit its future development. (shrink)

The United Nations Educational, Scientific and Cultural Organisation’s Declaration on Bioethics and Human Rights refers to the importance of cultural diversity and pluralism in ethical discourse and care of humanity. The aim of this meta-narrative review is to identify indigenous ethical values pertaining to the Ojibway, Xhosa, and Mayan cultures from peer-reviewed sources and cultural review, and to ascertain if there are shared commonalities. Three main themes were identified, namely illness, healing, and health care choices. Illness was described with (...) a more complex and dynamic picture than from the western view, as illness is not considered to be one dimensional. Healing needs to take place on various levels in order to restore a state of equilibrium between the different spheres. Health care choices were also considered from a multi-level perspective. In all three of the indigenous cultures explored, good decision-making is seen to have occurred when choices are informed by commitments to one’s moral and ethical responsibilities towards the community, nature, and the spirit world. (shrink)

The trend to centralization of the Mizrahi narrative has become an integral part of the nationalistic, ethnic, religious, and ideological-political dimensions of the emerging, complex Israeli identity. This trend includes several forms of opposition: strong opposition to "melting pot" policies and their ideological leaders; opposition to the view that ethnicity is a dimension of the tension and schisms that threaten Israeli society; and, direct repulsion of attempts to silence and to dismiss Mizrahim and so marginalize them hegemonically. The Mizrahi Democratic (...) Rainbow [The Keshet], the most prominent proponent and representative of this trend, was established in the 1990s with the intention of being a leading civic and political body in Israeli society. While it was the Mizrahi worldview that led to selection of the organization's name and aims, their vision was to be involved in social struggle on behalf of other groups in Israeli society. Since it was established, The Keshet has aimed to function as an assertive, long-term alternative coalition exerting influence, power, and pressure on the Israeli narrative network. And, indeed, the organization has succeeded in disrupting Israeli discourse, principally, by challenging the ideological foundations of the Zionist meta-narrative. Nearing the end of the first decade of the 21st century and nearly a decade since it was established, The Keshet not only represents the most current wave of Mizrahi discourse, it has changed it to such a great degree that it is impossible to ignore its influence. Further, this alternative narrative may have significant potential to advance the internal Jewish discourse so fundamental at this time given the changing Israeli situation and regional conditions. And, while it is possible to view The Keshet and this new narrative as a continuation of the Mizrahi struggle, as a narrative The Keshet's agenda represents a post-colonial perspective and multi-cultural alternative to Zionism as a social vehicle. Amidst all of this, The Keshet continues to offer concrete proposals to change the Jewish character of the state as well as its internal and external relations. One of the primary goals of this study was to examine the rise of the Mizrahi narrative over the last two decades and the new Mizrahi discourse in Israeli society. More specifically, the study sought to attain an in-depth understanding of the central narrative created and represented by The Keshet. An additional goal was to investigate the influence of The Keshet's activity and the narrative it constructed in regard to other narratives. In particular, the study focused on The Keshet's opposition to the central Zionist narrative that infuses civic, political, and academic frameworks in Israel. Accordingly, the primary research questions investigated in the study sought to determine: What has been the influence of the Mizrahi Democratic Rainbow on the Mizrahi narrative in Israel? And, what are implications of such influence for the central Zionist narrative? Methodologically, the study was based on narrative and comparative analyses of texts from different periods of the older and newer Mizrahi narratives. The corpus included two types of texts: First, academic texts and opinion pieces, both philosophical and programmatic in nature, published in magazines, journals, books, as well as position papers; second, all of the texts published by prominent and influential figures who charted the path of The Keshet or led it organizationally and/or intellectually over the last twenty years (e. g., Yehudah Shenhav, Yossi Yona, Moshe Krief among others). All texts were examined by means of philosophical, historical and critical hermeneutic tools. This analysis revealed different levels of Mizrahi and civic discourse in Israel as well as among The Keshet's founders and leading ideologues. The study was based on a three stage process model, developed for purposes of this study, for investigation and analysis of the new Mizrahi narrative as well as other oppositional narratives, in particular opposition to the hegemonic meta-narrative. The stages are: issuing the challenge, dissolution and, liberation; that is, liberation is the measure of the ultimate success of the struggle for narrative change. Such change is not based on success in the field, but rather on a radical, fundamental reversal of thought, discourse patterns, stylistic structures, as well as forms of questioning - in this case of taken-for-granted racist mechanisms. However, the principal change is in achieving a deep, inner de-legitimization of the signifiers, categories, and reproductions of all manner of mockery that are based on immoral colonialist processes that are reinforced by regimes of fear and intimidation whose self-destruction began upon their very creation. This three stage model charts the course of the oppositional Mizrahi narrative from: accounting for the past (passing judgment on the so-called historic colonialist Zionism) to writing a new (pure Mizrahi) history and creation of a Mizrahi-Arab identity separate from the Ashkenazic, identified as Zionist. Contemporary post-colonialist discourse is integral in these stages. Such a perspective has been transformed by transitions from - binarism to hybridity, Orientalism to Occidentalism, the politics of "liberation" to "constructive" politics, from the history of consciousness to the history of change, as well as from nationalist to post-nationalist questions. Fundamentally, according to this approach, political and other struggles for the emerging narrative of Mizrahi (or Arab) history seek to centralize it in society and weave it amidst the models of multiculturalism. Undertaken in parallel, the central characteristics of all these stages are borrowed from countries in which the need for national reconciliation led to renunciation of apartheid and racist policies and historical judgment of the hegemony supported by racist leaders. In addition, these three moves were undertaken in Keshet and its ideologues by means of substantive symbolic violence directed at the hegemonic Ashkenazic discourse, which included creation of hatred of it, use of stereotypes the opposite of oppressive discourse, and adoption of an arrogant point of view toward it. This stands in stark contrast to the claims of the self-proclaimed new Mizrahi stance of a discourse established on purely ethical grounds that sought to cleanse itself of these very same oppressive elements. The model developed for and demonstrated in this study allows for analysis of oppositional narratives in which the libratory stage evolves into a form of entrapment, as appears to be occurring to the new Mizrahi discourse. This conclusion is based on the observations shared by many Keshet proponents including leading intellectuals who worked on the manifestos that were the subject of criticism from the Zionist camp. The study identified and defined the following six interwoven strata, which for purposes of explication are each discussed in a separate chapter: The first chapter presents a general theoretical discussion of the issue of the narrative and the inter-narrative struggle that has become central and applicable in various ways in the latest generation (e. g., anthropologically, hermeneutically, and philosophically). The analysis surveys different discussions in the inter-narrative struggle and locates them in the contexts, relations, and meanings derived from, representing, and indeed reproducing the narrative of national identity. The second chapter includes a historical survey of the older Mizrahi struggle that existed prior to the ascendance of the new Mizrahi narrative. Initially, Mizrahi discourse focused on expressing the ethnic protest that grew in years to follow. These feelings of discrimination and social distancing of the immigrants from Islamic countries gave birth to expressions of protest, the most prominent of which were Wadi Salib and the Black Panther Movement's various activities. The research literature contains many explanations for the exacerbation of the ethnic problem and creation of a situation that could not be ignored. The consensus academic view reached at the end of the 1970s identified a number of primary factors for this situation: the existence and extensive numbers of different ethnic groups; the relative or absolute segregation of frameworks within which members of these ethnic groups lived and acted; and the significant overlap between socio-economic status and feelings of discrimination retained by members of the Mizrahi group due years of neglect by the Ashkenazic establishment, the strengthening of Mizrahi social, cultural, and political power, as well as the emergence of a Mizrahi elite that identified with Mizrahi problems. The severe consequences of feelings of discrimination were expressed in a long series of events, such as: rioting by residents of the Rehovot Sharayim neighborhood in 1956; events of Wadi Salib in Haifa in 1959; and a chain of activities involving the Black Panthers in the 1970s. Protest was also an aspect of the "tent movement" in the 1970s and 1980s. Political activities were advanced by the Tami Movement that competed in the election for the 10th Knesset in 1981 and the Shas Movement that has continued to garner political power since being found in 1984. The 1980s and 1990s were characterized as the era of radical consciousness of Mizrahi discourse as well as by the rise to power, in consecutive order, of the political parties – Tami, Shas, and the Mizrahim HaHadashim [the New Mizrahi]. The latter party laid the foundations of the new radical Mizrahi discourse from which emerged such cultural activities as: Iton Aher [A Different Newspaper]; Bimat Kivon Aher [Another Direction Forum]; Efir'yon journal; the Halah Organization for Education in Neighborhoods, Development Towns, and Villages; Kedma; the newspaper – Patish [Hammer]; and, eventually the establishment of Keshet. The third chapter presents an examination of the materialization of the inter-narrative struggle in the case of Israel, with a specific focus on The Keshet and the new Mizrahi narrative advanced by it and intellectuals. The Keshet ideology is examined in the context of its grounding in post-colonial thought, especially that of Edward Said; the directions proposed by Ella Shohat and her followers; the central thinkers of the narrative in Israel in the last decade; and the harsh critique leveled at the Ashkenazic-Zionist narrative. The practical steps proposed for implementation within the multicultural model are also examined. Here the effort to reduce the centrality of Zionism while revealing its oppressive mechanisms was undertaken in parallel with use of these mechanisms in order to create a Mizrahi space with broad margins inclusive of alternative forms of Israeli identity in the Middle East and in conjunction with Arabs within and beyond Israel. Mizrahi traditionalism is examined in the fourth chapter in two particular respects. First, the criticism of the new Mizrahi narrative leveled by the renewed view and, second, the implications of the alternative in terms of creating a Mizrahi space that does not oppose Zionism. Rather, in opposing the post-colonialist perspective, this renewed traditionalist perspective criticizes as well as values Zionism. This space seeks to be both Jewish and Mizrahi. It does not detach itself from nationalist Zionism but rather views itself as a continuation of this tradition and, accordingly, is an effort to develop a next stage in its development. For example, an essential dimension of the traditionalist perspective, "commitment," is considered in this stage to be a fertile basis for dialogue with the past and as an anchor for contemporary interpretation of Mizrahi and other Jews' identities in Israel. The fifth and sixth chapters deal with all of the vectors of criticism directed at the new Mizrahi narrative, including its ideological foundations, philosophical stance, as well as intellectual and practical basis in the Israeli sphere in the face of Palestinian nationalism. These vectors of criticism from within and beyond The Keshet deal with issues, such as, the meaning of the movement's activities and the narrative that it offers regarding questions of Israeli identity, Israeli collective memory, and Mizrahi self-perception. At the same time, it must confront the capitalist neo-liberal narrative in a global world and thrive in a context in which it must make itself manifest amidst oppositional narratives. The final chapter presents a comprehensive, critical analysis of the new Mizrahi narrative. It does so by means of a theoretical model that examines it as an oppositional narrative – one that seeks to challenge the hegemonic meta-narrative, to dissolve the boundaries of the narrative discourse, and to propose liberation and redemption that may led to entrapment amidst a changing, a-dichotomous realities (e. g., global economic development in the face of Zionist nationalisms that display ideological strength as well as development of the sense of being an Israeli that maintains its vitality and continuity while being constituted by sectors that challenge being a Mizrahi, such as co-ethnic subjects. The Keshet's influence is dramatic and extends in a number of central directions. Its political activity and non-entry into the domains of the Israeli parliament granted the movement significant power in civic discourse and contributed to changing the persona of the Mizrahi discourse; for example, from political-party struggles over budgets and obtaining shares of the regime to changing the face of Israeli society and the centrality of the Mizrahi narrative. This change included deconstructing the Ashkenazic narrative and constructing comprehensive Ashkenazic-Zionist guilt, as evident in the Ehud Barak's request for collective forgiveness. This was accomplished through the participation of leading members of Keshet who appeared in prominent intellectual forums and engaged in lively discourse - principally in academic, social, and media domains. Such participation gave new meaning to various aspects of Israeli society while establishing different models of multiculturalism. The rise of the new Mizrahi narrative is a significant marker in the inter-narrative struggle as it represents a desire for separate or hybrid identities. And, the deep probing of the narrative constructed by leaders of The Keshet and those who identify with the movement produced a number of clear ways to distinguish it from the old Mizrahi struggle, whose history was portrayed through social protests, in a manner similar to linear vectors marked with wars and elections. The old Mizrahi struggle selected the traditional tactical struggle identified usually with social and political movements that seek to change political, social, and economic reality - from the bottom up. Their primary demand was to change decisions as well as the division of social goods and resources. Hence, this older period of struggle was not aimed at opposing the ideological foundations of the hegemonic narrative nor did it seek to undermine in a radical manner the unique nature of the state of Israel as a revolutionary solution for the problems of the Jews according to the Zionist approach, as a national home for the Jewish people, and recognition of the right to an preferred and meta-definition of Jewish nationalism. In contrast, the top down struggle advanced by the new narrative is part of an ideological movement led by the educated that is assertive and ground in post-colonialist theory. Accordingly, it was critical of the techniques and mechanisms of oppression as well as sought to attack the Zionist ideological foundations and to reveal its racist operations and the regimes that have preserved it so efficiently for many years. The uniqueness of this narrative is the intellectual offensive that continues to be advanced and, in parallel, development of the discourse struggle in Israel concerning the justification for Zionism and the concrete political proposal that Jews reject the taken-for-granted status of it as an ideology. This new narrative recognizes the historic difficulties of subversion as an emancipatory and, principally, moral effort. In addition, the new Mizrahi narrative shares the foundations and narrative of Palestinian victimization. In its radical version, the new Mizrahi narrative seeks to connect to the Palestinian narrative in order to create a new space here. According to this version, this action will take place gradually. The first stage will be characterized by opposition to Western European, Ashkenazic Zionism. The Eurocentric Zionism will surrender in the second stage, to be followed in the last stage by creation of a coalition of Jews and Arabs that will be establish through concrete actualization of the refugee status and victimization that is shared by both Palestinians and Mizrahim (whether as Mizrahim or Jewish-Arab). Not a speculative academic exercise, the goal sought by this narrative is delineate and to achieve a multicultural model in which equality, liberty, and social justice will overcome the nationalism and colonialism of either side; that is it will be neither Zionist nor Jewish. Thus, this approach stresses what is shared (e.g., acceptance of the Arab space and not a rejection of it; the legitimacy of the Arab language and culture). This is part of detachment from and historic judgment of the colonialist Zionist enterprise. This possibility includes moral elements that remove the evil and harm caused by Zionism for many years as well as inner cleansing – primarily among Ashkenazim – of attitudes towards Jews and non-Jews. Though, in this regard, it should be noted that, to date, the new narrative has not made similar claims that Palestinians undergo a similar process. The assumption seems to be that this should be tested, that the coalition proposed is a possibility that will be recognized by the Palestinians, and that they are prepared to undergo a similar, shared moral process that involves negating the state of Israel as a Jewish, Western state, a state of the Jewish people, and not only for those who live within it. These Mizrahi thinkers conducted a significant move through deconstruction and substitution of the Eurocentric narrative with a multi-cultural proposal that is optimistic and even attractively naïve. Today, they acknowledge that they did not take into account Palestinian nationalist violence directed to citizens, the traditionalist alternative, and widespread opposition within the Mizrahi community toward what is perceived to be Mizrahi seclusion. They also did not take into account the harsh criticism rendered by young and educated Mizrahim who claim that they were born into a complex, multi-dimensional, multi-layered identity that includes internalization of the language of the West and rules of the game of this complex identity. And, though they are critical of some of its values, this makes it difficult to mount internal emotional opposition to the West and to the globalization contained within this world. Hence, this more familiar world is preferred over the values of the Mizrahi-Arab alternative, particularly in regard to problems in the domains of democratic citizenship, stance taken toward women, and freedom of speech. Further, educated Mizrachim reject the post-colonialist perspective and are stridently critical of its dichotomization. They claim that such a division is irrelevant in a world in which older ideologies have collapsed and new spheres – such as cyberspace and others – are open to them in which they can present themselves with an Israeli identity that is not categorized as necessarily Mizrahi. (shrink)

If the important role of written translation in the construction and contestation of knowledge and narratives remains largely under-explored, then the part played by interpreting and interpreters is even less examined in knowledge construction and story-telling. At a time when Beijing increasingly seeks to bolster its discursive power and have the Chinese story properly told, the interpreter-mediated and televised Premier-Meets-the-Press conferences constitute a typical discursive event andregime of truthin articulating China’s officially sanctioned “voice.” Discursive in nature, the institutionalised event (...) permits Beijing to construct a desired version of truth, fact and narrative in front of the more vociferous and dominant West. As an attempt to employ digital humanities (DH) methods to real-world language use, this corpus-based CDA study explores the press conference interpreters’ agency and mediation in rendering key concepts and discourses (e.g., ECONOMY and REFORM) constitutive of the broader Reform and Opening-up meta-narrative, which legitimises China’s political and economic systems, developments, policies and positions in the post-1978 era. The interpreters are found to maintain and often further reinforce Beijing’s discourse in English at various levels. Apart from indicating issues of institutional alignment, this study points to interpreters’ agency in communicating beyond national borders, (re)constructing political and institutional knowledge, counterbalancing the naturalised and taken-for-granted Western narratives, and contributing to the shifting East-West power differentials discursively. This study highlights the significance of interpreters as indispensable (re)tellers of the Chinese story in an increasingly mediat(is)ed world, where the interpreted discourse is routinely quotedverbatimon various platforms and taken for granted as the correct version of Beijing’s official “voice.”. (shrink)

Intelligent machines are no longer distant fantasies of the future or solely used for industrial purposes; they are real “living” things that operate similarly to humans with verbal and nonverbal communication capabilities. Humans see in such technology the horrifying dangers and the bliss enabled by the saving power. Entrenched in the emotions of hope and fear concerning intelligent machines, humans’ attitudes toward intelligent machines are not free of expectations, judgments, strategies, and selfish agendas. As the discovery of the New Worlds (...) has led to the development of an understanding of self as distinct from the other, narratives on intelligent robots have taken on similar forms of colonial discourse: contradictory manifestations of ethnocentrism (anthropocentrism) and exoticism. Similar to colonial encounters, the racialized Mechanical _Other_ operates like any other marginalized group. Colonial discourse often regards the mechanical _Other_ as both inferior yet exotic, which usually produces a mixed sense of blessing and curse, ambivalence composed of both desire and aversion. In these representations of machinic _otherness,_ one should not miss the fundamental injustice of creating the “Machinic Other” and imposing humans’ viewpoints. The field must expand the purview of intelligent machines to consider the larger historical and cultural forces shaping our understanding of who we are as reflected in the mirror of intelligent machines. (shrink)

This paper presents a direction for narrative ethics based on ethical ideas found in the works of Michel Foucault. Narrative ethics is understood here at the meta-level of cultural discourse to see how the moral subject is constituted by the discursive practices that structure the contemporary debate on reproductive technologies. At this level it becomes meta-narrative-ethics. After a theoretical discussion, this paper uses two literary narratives representing the polarized views in the debate to show how the moral (...) subject may be compelled to relate to its self. Ethics is redefined as Foucauldian rapport à soi, and ethical analysis, at this meta-level, shows how the moral self is intimately connected to cultural discourse. (shrink)

The purpose of this book is to advance responsible rehabilitation of the speculative philosophy of history. It challenges the idea popularized by thinkers such as and Claude Lévi-Strauss and Jean-François Lyotard that historical meta-mythology and meta-narrative are philosophically obsolete. As long as humanity, viewed anthropologically, lives by over-arching narrative, the quest for a version that survives rational criticism remains vital. Here human rights serve as the key to unlock such a version. Despite the fact that the Hegelian philosophy (...) of history has often been derided, something very similar currently functions as the official ideology of the world community: the idea of history as the story of freedom. This book does not retell the world-historical story of freedom. Rather, it uncovers it, beginning with the current age of human rights and working backward through the great role-model civilizations of history. Its conclusion is that a forward retelling of the story of freedom as the story of human rights can be justified by dewesternizing the story. The book contains critical responses from specialized scholars and re-presentative of selected world cultures. The volume includes illustrations, and a guest Afterword by Donald Phillip Verene. It is a companion-volume to the author's Hegel's Logic: Between History and Dialectic (North-western University Press, 1996). (shrink)

Visionary quests to return to the Garden of Eden have shaped Western culture from Columbus' voyages to today's tropical island retreats. Few narratives are so powerful - and, as Carolyn Merchant shows, so misguided and destructive - as the dream of recapturing a lost paradise. A sweeping account of these quixotic endeavors by one of America's leading environmentalists, Reinventing Eden traces the idea of rebuilding the primeval garden from its origins to its latest incarnations in shopping malls, (...) theme parks and gated communities. With eloquence and insight, Merchant shows how the drive to conquer nature and to explore and settle the globe, springs from this utopian pastoral impulse throughout Western history. Time and again, human manipulation of the environment is our downfall: Eden is achieved by fencing off pristine beauty in national parks and wildlife preserves, while leaving the majority of the earth in ruins. Challenging both narratives, Merchant argues that the green veneer of city-park conservation has become a cover for the corruption of the earth and the neglect of its environment. Reinventing Eden is a bold new way to think about the earth that includes green political parties, sustainable development and a partnership between humans and earth that is nothing short of an ecological revolution. (shrink)

Using the Bible in Christian ethics is often not as simple as many would expect it to be. This is particularly the case for the use of the Old Testament. Part of the challenge is the complexity of grasping the customs and norms that are reflected in the Old Testament. They are often at odds with what is acceptable in contemporary thinking. In this article, we examine the difficulty of using the Old Testament in Christian ethics by using the narrative (...) of Judah and Tamar in Genesis 38 as case study. We show that this particular text alerts us to the complex relationship between ethics and culture, not only in the world of the text, but also the world of the interpreter. Based on our analysis of the text we argue for its meta-ethical contribution to the practice of Christian ethics. We do not endeavour to resolve the perceived tension between the implied ethics of the text and that of contemporary interpreters, but view the unresolved tension as one of the text’s key contributions to the practice of Christian ethics. (shrink)

Our paper builds on earlier research to show how Bimal Krishna Matilal and Henry Odera Oruka challenge dominant narratives of the West-centered progress of philosophical and other forms of critical rationality. On the basis of persisting “enlightenment” and colonialist prejudices, a majority of Western philosophers have ignored philosophical inquiry in non-Western cultures. Both philosophical decolonizers had much of their upbringing and education while their countries were British colonies, earned their Ph.D.s in the West, and became renowned philosophers (...) at Oxford and the University of Nairobi. Oruka advocated mainly oral but increasingly written philosophical reflections in various ethnic traditions of Kenya and East Africa, though his ideas have also been applied to other cultures of the continent. Matilal focused on South Asian, Sanskrit philosophical traditions, which though comprising a large written literature are also often oral in their origins and ongoing pedagogical and hermeneutic culture. Beyond just demonstrating that Africans, Indians, and others can think for themselves, the two thinkers have laid the groundwork for, and initiated a number of more substantive philosophical engagements. The perhaps initially slow but exponentially increasing exchanges among non-Western peoples are well exemplified by the dialogs being organized in the present issue, as well as other efforts throughout the global academy. (shrink)

An interdisciplinary work in philosophy and film studies, Joseph Kupfer investigates narrative theory through the analysis of five films that have narrative as their subject matter and where stories and storytelling are central: A River Runs Through It, Wonder Boys, Ordinary People, The Shape of Things and Unforgiven. Kupfer's readings of the films explore the role of story creation in knowing ourselves and planning our future, in structuring social relationships, and in sharpening our experience of popular culture - including (...) mass-marketed films. (shrink)

This paper explores the heart and brain metaphors used in the meaning-making efforts of Chinese individuals diagnosed with depression. Past studies assert that the origin of Chinese language metaphors for thinking and feeling can be found in traditional Chinese medico-philosophical theory, where the heart is viewed as the seat of thought and emotion, and the brain, which constitutes the cognitive center in western theories of the self, is secondary. While most participants employed heart metaphors to express thinking and feeling, (...) many of the participants also employed brain metaphors. Instead of suggesting that this multiplicity implies westernization, this paper argues that cultural understandings of the self can be multiple. To appreciate this, it is necessary to look at spontaneously generated speech in a narrative context. This paper thus analyzes three participant narratives, a process that carries several implications for studies approaching the relationship between metaphor, culture, and the self. (shrink)

This article discusses the temporalization of space central to the mainstream discourse of European modernity: a discourse which hierarchized all cultural spaces into a temporal narrative enabling Europe’s self-portrayal as the emancipatory future of humanity. This discourse created a gap between the perceived particularism of non-European cultures (seen as traditional) and the universalism of a modernity associated with the contemporary cultures of Europe and North America, while portraying modernization as a passage from the former to the latter. Chinese intellectuals who (...) adopted this metanarrative therefore faced the following challenge: how can Chinese particularism be adapted to a culture of modernity regarded as universal? While May Fourth iconoclasts answered this question by simply rejecting the idea that an accommodation between Chinese particularism and modern universalism was possible, other intellectuals attempted to argue that at least some aspects of Chinese culture could still be of value within the context of modern universalism. This article discusses an interesting instance of such an attempt at negotiating the perceived tension between the modern discourse of universalism and the particularism of Chinese culture, as provided by Liang Shuming in Eastern and Western Cultures and Their Philosophies. This work attempted to show that Chinese culture could still be of value within the context of modernity by providing a new metanarrative which peripherized the role of Western culture in the process of modernization. This article suggests, however, that by adopting a portrayal of modernization as a passage from particularism to universalism, Chinese culture could be reauthorized, within Liang’s metanarrative, only at the cost of being de-complexified, homogenized, and de-historicized; only at the cost of being no longer Chinese. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

The ArgumentThe circulation of science across cultural boundaries involves the construction of various representations by the various actors, who each account for their involvement in the process. The historiography of the transmission of European science to China in the seventeenth and eighteenth centuries has long been dominated by one particular narrative: that of the Jesuit missionaries who were the main go-betweens for these two centuries. This fact has contributed to shaping Western images of China's history and science up to (...) the present day.To retrieve the multifaceted history of this transmission, more than one discourse needs to be taken into account. Even within the Society of Jesus, representations changed with the evolution of patronage of the mission, and the concomitant building up of state-sponsored science in Europe. Chinese sources yield different pictures, accounting for the reception of Western learning — rather than “European science” — in terms of integration rather than of conversion, and legitimizing it first by the Jesuits' status as scholars, then by the idea that Western learning was of Chinese origin. This shift corresponded to the imperial appropriation of this learning. (shrink)

In Western countries a considerable number of older people move to a residential home when their health declines. Institutionalization often results in increased dependence, inactivity and loss of identity or self-worth (dignity). This raises the moral question as to how older, institutionalized people can remain autonomous as far as continuing to live in line with their own values is concerned. Following Walker's meta-ethical framework on the assignment of responsibilities, we suggest that instead of directing all older people towards (...) more autonomy in terms of independence, professional caregivers should listen to the life narrative of older people and attempt to find out how their personal identity, relations and values in life can be continued in the new setting. If mutual normative expectations between caregivers and older people are not carefully negotiated, it creates tension. This tension is illustrated by the narrative of Mr Powell, a retired successful public servant now living in a residential home. The narrative describes his current life, his need for help, his independent frame of mind, and his encounters with institutional and professional policies. Mr Powell sees himself as a man who has always cared for himself and others, and who still feels that he has to fulfil certain duties in life. Mr Powell's story shows that he is not always understood well by caregivers who respond from a one-sided view of autonomy as independence. This leads to misunderstanding and an underestimation of his need to be noticed and involved in the residential community. (shrink)

Since January 2004, violent conflicts in the deep South of Thailand have caused 4,453 deaths and 7,239 injuries in 10,386 violent incidents. The numbers are increasing every day. Myriads of studies, strategies and proposals have been put forth to address and redress this deep-rooted problem. This paper is a modest attempt to find analysis and inspiration from the rich cultural resources of Buddhism to address the question of conflict and conflict transformation in Thai society. The Buddhist ‘Genesis’ or The Aggañña-sutta (...) has been analyzed by Thai and Western Buddhist scholars as offering an allegorical tale which details a long, inter-dependent process of human beings’ moral degradation on the one hand, and socio-political evolution on the other. This is considered to be the Buddhist equivalent of the Genesis without God. This paper offers a re-reading of this important sutta as a narrative of conflict and conflict transformation. It argues that the personal conflict of the two young Brahmins aspiring to be fully ordained is transcended and transformed by the Buddha’s allegorical tale of human socio-political evolution. This paper offers an analysis of the narration and demonstrates that in the narrating process, the Buddha was ‘substituting’ the Hindu creation myth with the Discourse on What is Primary (Aggañña-sutta). This narrative replacement subverts the deep-rooted cultural force of the Hindu creation myth which serves as a cosmological justification for a hierarchy of classes/castes in the social world. Once the Hindu creation myth is de-mythologized, the structure of meaning for the personal conflict of the two Brahmins evaporates. In this way, the Buddha’s approach to conflict transformation addresses three dimensions simultaneously, namely, the personal, the socio-political and the cosmological. This re-reading is one paradigmatic example of how to revitalize Buddhism to function as an agent of social transformation by offering a Buddhist creative approach to conflict transformation. (shrink)

Ethics position theory (EPT) maintains that individuals’ personal moral philosophies influence their judgments, actions, and emotions in ethically intense situations. The theory, when describing these moral viewpoints, stresses two dimensions: idealism (concern for benign outcomes) and relativism (skepticism with regards to inviolate moral principles). Variations in idealism and relativism across countries were examined via a meta-analysis of studies that assessed these two aspects of moral thought using the ethics position questionnaire (EPQ; Forsyth, Journal of Personality and Social Psychology39, 175–184, (...) 1980). This review identified 139 samples drawn from 29 different countries, for a total sample of 30,230 respondents, and concluded that (a) levels of idealism and relativism vary across regions of the world in predictable ways; (b) an exceptionist ethic is more common in Western countries, subjectivism and situationism in Eastern countries, and absolutism and situationism in Middle Eastern countries; and (c) a nation’s ethics position predicted that country’s location on previously documented cultural dimensions, such as individualism and avoidance of uncertainty (Hofstede, Culture’s Consequences: International Differences in Work-Related Values, 1980). Limitations in these methods and concerns about the validity of these cross-cultural conclusions are noted, as are suggestions for further research using the EPQ. (shrink)

In this paper, I aim to determine to what extent contemporary cross-cultural and developmental research can shed light on the role that narrative practices might play in the development of folk psychology. In particular, I focus on the role of narrative practices in the development of false belief understanding, which has been regarded as a milestone in the development of folk psychology. Second, I aim to discuss possible cognitive procedures that may underlie successful performance in false belief tasks. Methodologically, I (...) distinguish between two kinds of narrative practices: ‘mentalistic narrative practice’, and ‘behavioral-contextual narrative practice’ behavior of another person in a specific socio-situational context). Whereas the former is more prevalent in Western cultures than in Eastern cultures, the latter is predominantly used by members of Eastern cultures. Mentalistic narrative practices correlate with cultural divergences in the development of false belief understanding throughout ontogeny but do not seem to play the key role. The analysis shows that conceptual change and the acquisition of mental state terms is essential for passing the false belief task, and that theory is likely to be the cognitive mechanism involved here such as proposed by Theory Theory. However, Hutto’s Narrative Practice Hypothesis trumps over Theory Theory to account for the varieties and ambiguities people typically meet when understanding each other in everyday life. (shrink)

Western Buddhist travel narratives are autobiographical accounts of a journey to a Buddhist culture. Dozens of such narratives have since the 1970s describe treks in Tibet, periods of residence in a Zen monastery, pilgrimages to Buddhist sites and teachers, and other Asian odysseys. The best known of these works is Peter Matthiessen's The Snow Leopard; further reflections emerge from thirty writers including John Blofeld, Jan Van de Wetering, Thomas Merton, Oliver Statler, Robert Thurman, Gretel Ehrlich, and (...) Bill Porter. The Buddhist concept of 'no-self' helps these authors interpret certain pivotal experiences of 'unselfing' and is also a catalyst that provokes and enables such events. The writers' spiritual memoirs describe how their journeys brought about a new understanding of Buddhist enlightenment and so transformed their lives. Showing how travel can elicit self-transformation, this book is a compelling exploration of the journeys and religious changes of both individuals and Buddhism itself. (shrink)

Japanese Frames of Mind addresses two main questions in light of a collection of research conducted by both Japanese and American researchers at Harvard University: What challenge does Japanese psychology offer to Western psychology? Will the presumed universals of human nature discovered by Western psychology be reduced to a set of 'local psychology' among many in a world of unpredicted variations? The chapters provide a wealth of new data and perspectives related to aspects of Japanese child development, moral (...) reasoning and narratives, schooling and family socialization, and adolescent experiences. By placing the Japanese evidence within the context of Western psychological theory and research, the book calls for a systematic reexamination of Western psychology as one psychology among many other ethnopsychologies. Written in mostly non-technical language, this book will appeal to developmental and cultural psychologists, anthropologists interested in psychological anthropology, educators, and anyone interested in Japanese and Asian studies. (shrink)

The new Mizrahi narrative, presented by Israeli Mizrahi groups such as The Mizrahi Democratic Rainbow, presents a challenge to multi-cultural education. In particular, it repudiates the hegemonic meta-narrative of Ashkenazi-Zionist-Jewish-Israeli history that identifies the (White) Ashkenazi as the Zionist. The article summarizes a narrative-oriented academic research of the evolution of the new Mizrahi narrative in Israel, since the 1990s.It presents findings from historical, philosophical, and narrative analyses of texts from different periods of older and newer Mizrahi struggles in Israel. (...) The article presents a three-stage model of the development of resistance narratives that evolved, in this case, in opposition to the hegemonic Ashkenazi mega-narrative, and that employed different practices that facilitated their expression in social narrative networks. These stages are: (1) accounting for the past (placing historic, colonialist Zionism on trial); (2) writing a new (purely Mizrahi) historiography; and (3) creating an Arab-Mizrahi identity separate from the Ashkenazi hegemony (identified as occupational Zionism that has been violent against both Jews and Arabs, and which is an invasive, foreign growth in a non-European space). The article offers critical perspectives on the main philosophical and educational challenges of the new narrative which reveals that, historically, these three processes also involve use of stereotypes and assumed an elitist point of view that governed development of the resistance discourse. Such actions contradict the movement’s claim that the new Mizrahi narrative exists on purely moral grounds and seeks to liberate itself from these very same oppressive elements found in the dominant meta-narrative. In contrast, the analytical approach presented in this article allows for an analysis of the resistance narrative that changes the stage of liberation to one of unification. (shrink)

This paper argues that the distinctive feature of African philosophising is a communitarian outlook expressed through various forms of narrative. The paper firstillustrates the close relationship between narrative and community in the African cultural milieu. It then goes on to examine the way in which African academics invarious fields have employed the narrative technique in their works. Next, the paper urges that through migration to European and American institutions of higherlearning, African philosophers have had a significant impact on Western (...) philosophy. Thereafter, the paper argues that while a communalistic outlook is part and parcel of African philosophising, it does not imply an insular approach to identity, but rather accommodates the fact of the dynamism of the sources of identity. Finally, the paper points out that one implication of the communalistic and narrativistic approach of African philosophy is that the dichotomy between “analytic” and “continental” philosophy, so common in the West, is not applicable to it. (shrink)

This innovative text reinvigorates argumentation studies by exploring the experience of argument across cultures, introducing an anthropological perspective into the domains of rhetoric, communication, and philosophy. The Anthropology of Argument fills an important gap in contemporary argumentation theory by shifting the focus away from the purely propositional element of arguments and onto how they emerge from the experiences of peoples with diverse backgrounds, demonstrating how argumentation can be understood as a means of expression and a gathering place of ideas and (...) styles. Confronting the limitations of the Western tradition of logic and searching out the argumentative roles of place, orality, myth, narrative, and audience, it examines the nature of multi-modal argumentation. Tindale analyzes the impacts of colonialism on the field and addresses both optimistic and cynical assessments of contextual difference. The results have implications for our understanding of contemporary argumentative discourse in areas marked by deep disagreement, like politics, law and social policy. The book will interest scholars and upper-level students in communication, philosophy, argumentation theory, anthropology, rhetoric, linguistics, and cultural studies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Historical Narratives and the Meaning of NationalismLloyd KramerThe vast, expanding literature on nationalism may well defy every generalization except a familiar, general theme of intellectual history: texts about nationalism have always drawn their perspectives and passions from the evolving political and cultural contexts in which their authors have lived. Modern accounts of nationalism show the unmistakable traces of political, military, and cultural conflicts in every decade of the (...) twentieth century—from the era of nationalist rivalries before World War I to the redefinitions of gender, literature, and history that have emerged in contemporary postmodernism, postcolonialism, and multiculturalism.This connection between the texts of nationalist scholarship and the modern contexts of politics and culture suggests why historical narratives of nationalism have become part of the history of nationalism itself. Nationalism’s scholarly interpreters cannot easily separate themselves from the objects of their analysis, and their interpretations are often as diverse and fragmented as the nations they describe. This essay enters the debate on nationalism, describes recurring themes in the historical literature, and replicates a key characteristic of the historiography by stressing that the complexity of nationalism and its interpreters resists every simplifying, comprehensive definition. Histories of nationalism provide a striking example of how the history of ideas never reaches a point of uncontested closure and never finally escapes the political and cultural contexts in which all historical narratives are produced.Like most analysts of nationalism, I assume that it is one of the decisive forces in modern history and that its significance demands careful, critical analysis. It also calls for always incomplete definitions, one of which can be drawn from the German historian Peter Alter. Nationalism is “both an ideology and a political movement which holds the nation and sovereign nation-state to be crucial indwelling values, and which manages to mobilize the political will of [End Page 525] a people or a large section of the population.”1 Nationalist ideas are thus a distinctive form of modern thought that shapes the political actions and cultural identities of individuals as well as groups. The meanings of nationalism and national identity typically depend on various dichotomies that define the nation in terms of its differences from other places or people—the dynamic process of identity formation that has received wide attention in contemporary cultural studies. My own view of the “oppositional” structures in nationalist thinking coincides with the concise description by Peter Sahlins: “National Identity is a socially constructed and continuous process of defining ‘friend’ and ‘enemy’.... National identities... do not depend on the existence of any objective linguistic or cultural differentiation but on the subjective experience of difference.”2 Sahlins thus assumes that something called national identity is “there,” but he also insists that national consciousness is a “constructed” identity. Nationalism, in short, does not express or reflect a natural, primordial reality.The assumption that nationalisms are historical rather than natural phenomena shapes most of the scholarly literature, so that the study of nationalism leads to historical analysis rather than to biology or physical geography. Although there have been countless historical studies of nationalism in different periods, cultures, and conflicts,3 my discussion will refer to a small number of narratives that have made especially significant theoretical claims about the nature of nationalism. There is of course no way to analyze such theories without exclusions and generalizations, which I shall provide by focusing mostly on works about Europe and dividing the patterns of historical analysis into the following broad categories: (1) the description of nationalism as a central component of modernization, reflecting and also shaping intellectual, cultural, economic, social, and political transitions from premodern to modern history; (2) the claim that nationalisms are modern religious movements, related to but also displacing earlier religions; (3) the argument that nationalism is a linguistic, literary construction that depends on new forms of communication, intellectuals, and narratives; (4) the description of nationalism as a discourse of gender and ethnicity that shapes individual identities and also expresses anxieties about sexuality, culture, and respectability; and (5) the argument that nationalisms can be divided into categories (good/bad, Western/Eastern, [End Page 526] political/cultural) and phases that represent sharp differences in the development of modern... (shrink)

This paper critically evaluates the work of Charles Taylor and Alasdair MacIntyre by comparing their understanding of the narrative structure of selfhood with paradigms derived from three other sources: Heidegger’s conception of human being as Dasein; Rowan Williams’ interpretation of Dostoevsky’s theology of narrative; and Kierkegaard’s project of reading the Old Testament narrative of Abraham and Isaac as part of the Christian God’s autobiography. These comparisons suggest that Taylor and MacIntyre’s own narratives of Western culture lack a (...) certain, theologically required openness to a variety of specific ways in which both individuality and history resist understanding in narrative terms as much as they demand it. (shrink)

The English translation of Habermas's The Structural Transformation of the Public Sphere converges with the revival of the "political culture concept" in the social sciences. Surprisingly, Habermas's account of the Western bourgeois public sphere has much in common with the original political culture concept associated with Parsonian modernization theory in the 1950s and 1960s. In both cases, the concept of political culture is used in a way that is neither political nor cultural. Explaining this peculiarity is (...) the central problem addressed in this article and its companion piece, which appeared in Sociological Theory, volume 3, number 2 (1995). I hypothesize that this is the case because the concept itself is embedded in an historically constituted political culture (here called a conceptual network)-a structured web of conceptual relationships that combine into Anglo-American citizenship theory. The method of an historical sociology of concept formation is used to analyze historically and empirically the internal constraints and dynamics of this conceptual network. The method draws from new work in cultural history and sociology, social studies, and network, narrative, and institutional analysis. This research yields three empirical findings: this conceptual network has a narrative structure, here called the Anglo-American citizenship story; this narrative is grafted onto an epistemology of social naturalism; and these elements combine in a metanarrative that continues to constrain empirical research in political sociology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Criticism of Culture and the Culture of Criticism:At the Intersection of Postcolonialism and Globalization TheoryRevathi Krishnaswamy (bio)Why have culture in general and literature in particular emerged as key terms in critical theory today? Are we witnessing a dissolution of these categories similar to the earlier dissolution of the category of history, or are we witnessing an entirely novel consolidation of these categories? Has materialism essentially (...) changed the semiotic such that culture is now simply another commodity available for consumption on the world market, or has the semiotic radically subsumed the social such that cultural representation has become one with material reality itself? Has the relationship between the cultural and the economic altered in ways yet untheorized? Finally, what exactly does the culturalist turn in critical theory mean for the practice of postcolonial cultural/literary studies? And precisely what does it portend for the ongoing politics of decolonization?1 I shall attempt to engage these questions by focusing on two dominant theoretical discourses that regulate contemporary knowledge production in the humanities and social sciences: postcolonialism and globalization. While the "culturalist turn" in contemporary criticism has infected many disciplines, these two theoretical fields have been most influential in asserting the primacy or the constitutive role of the cultural in history, economics, and politics. Yet there has so far been relatively little explicit or systematic scrutiny of the links between postcolonialism and globalization theory.2The links are at once considerable and complicated. Despite differences in disciplinary origin (globalization theory in the social sciences, particularly sociology, and postcolonial theory in the humanities, particularly literary criticism), both discourses emerge at the intersection of imperialism, capitalism, and modernity. Both are concerned with the effects of unequal power relations between different geopolitical locations on the globe: postcolonial theory focuses primarily on a (Eurocentric) colonial past and studies how subaltern practices and productions in the non-Western peripheries respond to Western domination, while globalization theory concentrates mainly on [End Page 106] an (Americocentric) post/neocolonial present and examines how contemporary Western practices and productions affect the rest of the world. Furthermore, both theoretical paradigms have sought to question the universality attributed to Western modernity in metropolitan developmental theory by drawing attention to premodern, nonmodern, or alternatively modern formations in the margins. This attempt to dislocate Western modernity (from the theoretical center) has typically taken the form of dismantling those categories deemed to be central to the narrative of Western modernity—categories such as "nation," "nation-state," "culture" and so on. Consequently, both postcolonial and globalization studies have frequently focused on various forms of economic, political, social, and cultural flows that exceed the boundaries of the nation-state and operate in a deterritorialized or transnational fashion. Through these accounts, postcolonial theory has emphasized the cultural basis of history (the cultural constructedness of history as well as the archival value of cultural productions)3 while globalization theory, in turn, has highlighted the cultural basis of the economic (the economic value of cultural productions as well as the cultural production of economic value).But "besides their shared cultural grammar," the relationship between globalization and postcolonialism "is not very clear," notes Simon Gikandi in "Globalization and the Claims of Postcoloniality," a provocative essay that represents one of few attempts to explicitly articulate the relationship between the two discourses [628]. It is indeed unclear whether contemporary globalization theory has been made possible by the postcolonial challenge to older Eurocentric forms of globalization premised on the centrality of the nation and narrated in terms of modernization or whether postcoloniality itself is a consequence of a globalization premised on the marginalization of the nation, especially in the domain of the cultural and the imaginary. It is unclear whether the postcolonial and the global are one and the same, whether the postcolonial precedes and provides the foundations for global or transnational cultural studies [Eng and Stratton], or whether globalization created the historical and material conditions that both enabled the production of postcolonial theory and eroded its political purchase through incorporation into the Western academy [Ahmad]. What is clear, however, as Gikandi recognizes, is that the cultural and the literary have risen to new levels of prominence in both theoretical fields.The... (shrink)

This article is a narrative account of my search for knowledge about the nature of consciousness, and the implications of my findings for research and education. For over three decades, I accepted the dominant script presented to me through my education, both formal and informal, which assumes that the brain creates consciousness. Further, when the brain dies, consciousness dies with it. However, the unexpected death of my partner pushed me to investigate these assumptions. Through reading consciousness studies research, I learned (...) of considerable empirical evidence that challenges the materialist paradigm taken for granted in the educational and social cultures in which I was raised. An analysis of the literature, combined with the learning gained from my own experiences, transformed my understanding of reality. This led me to radically question the ontological and epistemological assumptions of mainstream educational and social research. I end with a call for the development of an integral framework for consciousness education that would liberate researchers and educators from the materialist paradigm that is so deeply embedded in Western culture and contribute to an emerging postmaterialist worldview. (shrink)

The purpose of the article is to identify, analyze and summarize the main theological and sociological approaches to the study of the latest trends of the Western Protestant theological inquiry that takes into account the condition of postmodernity, based on the study of the researches of the Emerging church. As a methodological foundation of the research it is employed the interdisciplinary approach, as well as the comparative method, which gives the researcher the opportunity to fully consider the theological and (...) socio-cultural features of Emerging Church. Scientific novelty. As follows from the analysis, there are various theological and sociological interpretations of the church. In particular, the phenomenon of post-modern religiosity is interpreted as a form of protest against the traditional evangelical Protestantism, as the movement of cultural and religious criticism, whose identity is formed by the deconstruction of narratives and discourses of traditional evangelical Christianity, as the autonomous Protestant tradition that applies postmodern forms of knowledge for rethinking of the Christian faith. Conclusions. A new phenomenon of Western Christianity has caused intense debate in the scientific and especially theological environment. Despite the availability of a wide range of interpretations of the new movement, the researchers acknowledge its religious innovative meaning, recognizing the potential of the Emerging Church to actualize the process of transformation of traditional institutions and practices of Protestantism so that it again would be able to enter into dialogue with society in a new socio-cultural situation. (shrink)

Sweet cross -- Butterfly dreams -- On luxury -- Satori -- Moral entertainment -- Healthy entertainment -- Being as passion -- A hunger artist -- Serenity before the world -- A meta-theory of entertainment.

B a c k g r o u n d. This article presents the results of the study of the main essential features and problems of self-identification of philosophy in the context of modern intellectual culture in Ukraine. The purpose of the research is to analyze the discourse of self-identification, its features, specific features and structure. In conditions where the history of Ukrainian philosophy is thoroughly researched, the current state of intellectual culture and the place and role of (...) philosophy in it remain relevant. Among the Ukrainian philosophers who developed new narratives in Ukrainian philosophy, it is worth mentioning famous figures: M.V. Popovych, S.B. Krymskyi and V.S. Gorskyi, V.G. Tabachkovskyi, and others. M e t h o d s. The article uses a combination of historical-philosophical and general scientific methods, including content analysis of philosophical texts, critical discourse analysis, historical-comparative and descriptive methods. This methodology contributes to a comprehensive study of the role and self-identification in modern Ukrainian intellectual culture. R e s u l t s. The results demonstrate the dynamic interaction between the philosophical discourse and the intellectual culture of modern Ukraine. The article identifies the key themes and trends of self-identification in philosophy, focuses attention on the discourse of self-identification, its features, structure, and specific features. C o n c l u s i o n s. It was found that the discourse of self-identification of philosophy in Ukraine, in its modern intellectual culture, is a multifaceted and constant process, deeply connected with the intellectual and cultural development of the country. The peculiarities of the discourse, which are related to the iteration of the national philosophy, the influence of Ukrainian studies and the reinterpretation of the heritage, specific features are identified, the specific features of the discourse are analyzed, such as, for example, the three main worldview foundations of the discourse: neoarchaizing-postmodern Byzantine-"Kiev Russian" Christianity (S. Krymsky and V. Horskyi), analytical-philosophical (M. Popovych), philosophicalanthropological (V. Tabachkovsky), and three main levels of manifestation of the main features of the discourse are demonstrated: intergenerational, inter-institutional and international levels. The structure of the self-identification discourse of philosophy in modern Ukrainian culture is analyzed, three conditional levels of the structure are defined: 1. intergenerational, 2. inter-institutional, 3. international. The article notes that continued interaction with both Western and domestic philosophical traditions will be crucial for the future development of Ukrainian philosophy. (shrink)

I have been working on meta-philosophy for quite some time and was pleasantly surprised to encounter, mid-May 2017, someone who shares this commitment (apart from his many other interests and specializations) for very similar reasons as my own. He is Dr Desh Ray Sirswal from India and one of his numerous websites, blogs, journals, etc is - http://drsirswal.webs.com/ I let him speak for himself. “My objective is to achieve an intellectual detachment from all philosophical systems, and not to solve (...) specific philosophical problems but to become sensitively aware of what it is when we philosophize.” Copyright© Desh Raj Sirswal . I commence by dealing with the teaching of philosophy, because the contents of what is being taught at under-graduate level is for most people who are slightly informed about the subject what philosophy is about. This usually consists of the history of Ideas of Western Philosophy. Although an increasing number of faculties now broaden the scope to the ‘philosophies’ of Asia, the Far East and the Middle East. This international broadening of what is being included in curricula of or as philosophy is another index that Western Philosophy is in need of subject-matter as its traditional subject-matter have all but died out. Apart from the History of Philosophical ideas, the subject often is presented in terms of so-called branches, for example metaphysics, ontology, epistemology, ethics, logic, and so on. A number of authors suggest that both ways of teaching the discipline is very selective because of the departments adherence to some form of either ‘analytical’ or ‘continental’ philosophy. Apart from the traditional lecture-style the teaching of philosophy is dealt with by means of some variation on the Oxbridge ‘tutorial’-style. Tutorials are often acclaimed as being an amazing, to be highly regarded innovation. Some studies and research of it however revealed that is not at all very comprehensive but is restricted to a number of items concerning reasoning, argumentation and critical re-viewing and thinking. This approach forms part of the attempt by contemporary research universities to teach aspects of ‘research’. This brings us to my next section on methods of doing philosophy. I suggest that the doing of philosophy resembles certain aspects and contexts of some of the steps and stages of doing theorizing. This is the rationale for including the next section on theorizing, its steps, stages and other aspects such as the use of metaphors, imaginary experiments, heuristic devices, etc. The next section deals with the changing nature of traditional philosophy as it lost most of its subject-matter to other disciplines that have been socio-culturally differentiated. And the search for new philosophical subject-matter such as Experimental Philosophy or XPhi, the involvement of philosophers in inter-disciplinary studies, especially the latest fad of cognitive studies or sciences and of course the fabrication of philosophies of all areas of human behaviour and kinds of socio-cultural activities for example sport, the arts, sciences, cognition, sex, violence, gender, race, religion, etc etc. I then turn to the question about how, where and why one could perhaps do philosophy against the background of the above. In this investigation I make explicit some of the self-imposed limits of the discourse. Some of these restrictions have been created because of the absolute institutionalization of the discipline as just another subject of universities. This institutionalization of course requires that those involved in the discipline of institutionalized philosophy must be professionals. This absolute requirement lays down the condition that to be a philosopher one must be a professional and an academic. The conditions of institutionalization and professionalization have far reaching consequences for the philosophical discourse, its subject-matter, methods, principles, values, aims, purposes and norms. One of these is the need to publish and to publish often especially in peer-reviewed journals and in their required, institutionalized format. Because of these institutionalized restrictions of what philosophy is, what it must be like, what it may be like and what it may not be like I explore the lack of self-cognition of academically institutionalized philosophy and the associated absence of critical, meta-cognition and self-awareness of professional philosophers. I question the values of doing that type of philosophy, philosophy-on-demand and because of demand and suggest that it is preferable to engage with the more original, creative-thinking philosophers’ work. All of the above are of course intersubjectively determined and this is why I finally explore the nature and operation of different forms of intersubjectivity, for example of common sense, everyday existence, that of the different sciences, the arts, etc and the roles or functions of these things in the creation or constitution of alternative discourses, their realities, life-worlds or perspectives on ‘the world, reality, and existence’. This is the phantom, the ghost of the deceased discourse of philosophy that I chased, encountered and describe. -/- . (shrink)

Bart Keunen’s boldly comprehensive theory of literature springs from the synthesis between narrative time and space forms called the chronotope. The originator of the theory, Mikhail Bakhtin, argued that each literary culture and each genre uses a family of chronotopes that endow the cultures and genres with their specific aesthetic charm, as well as their cognitive and moral strength. After constructing an archeology of the chronotope, Keunen proposes a remarkably original description of the various types of chronotopes. Chronotypes that (...) emphasize conflict are using Greek mythological names to explain equilibrium, or reconciliation, and conflict chronotopes. He then develops a plot typology that covers the whole history of Western narrative culture. With examples and resonances both ancient and modern, Keunen’s Time and Imagination will equip theorists in a wide range of fields with powerful tools for years to come. (shrink)

On 3 August 2012, Shafilea Ahmed’s parents were convicted of her murder, nine years after the brutal ‘honour’ killing. The case offers important insights into how ‘honour’-based violence might be tackled without constructing non-Western cultures as inherently uncivilised. Critiquing the framing devices that structure British debates about ‘honour’-based violence demonstrates the prevalence of Orientalist tropes, revealing the need for new ways of thinking about culture that do not reify it or treat it as a singular entity that can (...) only be tackled in its entirety; instead, it is important to recognise that cultures consist of multiple, intersecting signifying practices that are continually ‘creolising’. Thus, rather than talking purely about culture, debates on ‘honour’-based violence should explore the intersection of culture with gender and other axes of differentiation and inequality. (shrink)

The lives and labour of migrants are increasingly shaped by political precarity and rightlessness in an unevenly globalized world. We argue that ‘undesirableness’ rather than mobility is constitutive of the ‘migrant’ position. Besides underscoring the asymmetrical power relations that define the position of the ‘migrant’ vis-à-vis the receiving state and society, an optic of ‘undesirableness’ also foregrounds the governmental techniques deployed to produce the figure of the ‘migrant’. We suggest that the framing of migrants as ‘unwanted’ is pivotal to the (...) European non-entrée regime, which parallels cultural exclusion through an Orientalization of the discourse on migration. The immutable cultural alterity of the (Muslim) ‘migrant’ is thus presumed to pose a perennial threat to Western ‘liberal’ values. Two assumptions undergird this narrative of the ‘undesirable’ migrant as the quintessential ‘Other’ of the European Self: cultural determination of behaviour in migrant communities, and incompatibility of ‘migrant cultures’ with those of ‘host’ societies. (shrink)

The English translation of Habermas's The Structural Transformation of the Public Sphere converges with a recent trend toward the revival of the "political culture concept" in the social sciences. Surprisingly, Habermas's account of the Western bourgeois public sphere has much in common with the original political culture concept associated with Parsonian modernization theory in the 1950s and 1960s. In both cases, the concept of political culture is used in a way that is neither political nor cultural. (...) Explaining this peculiarity is the central problem addressed in this article and one to follow. I hypothesize that this is the case because the concept itself is embedded in an historically constituted political culture (here called a conceptual network)-a structured web of conceptual relationships that combine into Anglo-American citizenship theory. The method of an historical sociology of concept formation is introduced to analyze historically and empirically the internal constraints and dynamics of this conceptual network. The method draws from new work in cultural history and sociology, social studies, and network, narrative, and institutional analysis. This research yields three empirical findings: this conceptual network has a narrative structure, here called the Anglo-American citizenship story; this narrative is grafted onto an epistemology of social naturalism; and these elements combine in a metanarrative that continues to constrain empirical research in political sociology. (shrink)

The article aims at demonstrating that a spike in populist narratives in Western societies leads to the legitimization of a new type of racism, xenoracism. Societies belonging to the so-called Western culture in the second half of the 20th century were attached to the liberal values where every sign of racism was negatively perceived as pejorative and attempts were made at eradicating it. In the 21st century, in turn, various economic and social crises caused by, inter (...) alia, globalizing processes, were attributed to liberal values which contributed to doing politics through fear management towards the Other. The difference between racism and xenoracism lies in the fact that the former was an ideology focused on biological differences while xenoracism abandoned such differences in favour of socially and culturally imbuing them with objective and unalterable character. Populist narratives evoking fear of the Other question that behaviours triggered by this fear result from racism despite the fact that these actions are virtually identical to the ones motivated by the ideology of racism. Therefore, such behaviours and activities are more commonly perceived as positive and not pejorative and as in effect acceptable. (shrink)

_Pragmatism Ascendent_ is the last of four volumes on the contribution of pragmatism to American philosophy and Western philosophy as a whole. It covers the period of American philosophy's greatest influence worldwide, from the second half of the 20th century through the beginning of the 21st. The book provides an account of the way pragmatism reinterprets the revolutionary contributions of Kant and Hegel, the significance of pragmatism's original vision, and the expansion of classic pragmatism to incorporate the strongest themes (...) of Hegelian and Darwinian sources. In the process, it addresses many topics either scanted or not addressed at all in most overviews of the pragmatism's relevance today. Noting the conceptual stalemate, confusion, and inertia of much of current Western philosophy, Margolis advances a new line of inquiry. He considers a fresh conception of the human agent as a hybrid artifact of enlanguaged culture, the decline of all forms of cognitive privilege, the pragmatist sense of the practical adequacy of philosophical solutions, and the possibilities for a recuperative convergence of the best resources of Western philosophy's most viable movements. (shrink)

This article traces the competing meanings of "master narrative" in current theoretical debates over history and culture. The phrase "master or meta narrative" has grown popular for describing stories which seem to assimilate different cultures into a single course of history dominated by the West. Master narrative, like its predecessors Universal History and speculative philosophy of history, has become something to avoid. But our increasingly global situations demand stories that can describe and explain the worldwide interactions of diverse (...) cultures and communities. From this convergence--a growing wariness of global stories coupled with situations which seem to demand them--has emerged a popular new double plot of world history in which cultural differentiation and cultural homogenization go hand in hand. The development has led to some surprising homologies and contrasts among the new histories created by thinkers from Claude Lévi-Strauss and Jean-François Lyotard to James Clifford and Francis Fukuyama. But our new "postmodern" distinctions between master and local narratives have carried over the venerable antinomy of people with and without history, and the search for timeless formal principles differentiating "historical" and "nonhistorical" modes of discourse and ways of being threatens to create new varieties of essentialism. (shrink)

Cultural trauma occurs when members of a collectivity feel they have been subjected to a horrendous event that leaves indelible marks upon their group consciousness, marking their memories forever and changing their future identity in fundamental and irrevocable ways. While this new scientific concept clarifies causal relationships between previously unrelated events, structures, perceptions, and actions, it also illuminates a neglected domain of social responsibility and political action. By constructing cultural traumas, social groups, national societies, and sometimes even entire civilizations, not (...) only cognitively identify the existence and source of human suffering, but may also take on board some significant moral responsibility for it. Insofar as they identify the cause of trauma in a manner that assumes such moral responsibility, members of collectivities define their solidary relationships that allow them to share the suffering of others. Is the suffering of others also our own? In thinking that it might in fact be, societies expand the circle of the ‘we’ and create the possibility for repairing societies to prevent the trauma from happening again. By the same token, social groups can, and often do, refuse to recognize the existence of others’ suffering, or place the responsibility for it on people other than themselves. Empirically, this article extensively considers trauma construction in the case of the Holocaust – the mass murder of Jews by the German Nazis – but also examines trauma processes in relation to African-Americans, indigenous peoples, colonial victims of Western and Japanese imperialism, the Nanjing Massacre, and victims of the early communist regimes in Soviet Russia and Maoist China. (shrink)

The Ethos of Medicine in Postmodern America is an analysis of medical care, medical education and medical professionalism with reference to the cultural touchstones of the postmodern era: consumerism, computerization, destruction of meta-narratives, and “stakeholder late capitalism.” The prism of postmodern thought provides a powerful heuristic to grasp the fundamental changes that have occurred and substantively changed the ethos of healthcare delivery, the patient-physician relationship, the physician-corporate entanglement, and the addition of more stakeholders in healthcare delivery.

In The Demoralization of Western Culture Ralph Fevre undertakes an explanation of these difficulties.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Transformative Change in Western Thought: A History of Metamorphosis from Homer to Hollywood eds. by Ingo Gildenhard and Andrew ZissosBenjamin Eldon StevensIngo Gildenhard and Andrew Zissos, eds. Transformative Change in Western Thought: A History of Metamorphosis from Homer to Hollywood. Oxford: Legenda, 2013. xv + 522 pp. Cloth, $89.50.This volume represents a wide range of approaches to the topic of “metamorphosis.” The topic is obviously quite (...) large; in other hands it could be thought somewhat nebulous. To the credit of the contributors and the editors, although there are some attempts at definition, these are not developed for their own sake but are clearly focused on particular texts and contexts. As a result, the volume is exciting, enjoyable as well as serious, and therefore not only suggestive for future research but also set to be useful in teaching. I would happily assign relevant portions of it in courses on classical traditions and receptions. Whether in the classroom or elsewhere, it deserves to reach a large audience.The “volume narrates an alternative history of European culture that brings into view evolved and evolving continuities as well as sedimentations and ruptures” (xi–xii). To say that the essays do not exactly constitute a “history” would be to quibble: the twelve chapters as such do cover a great span of time, while a narrative frame is provided in the four introductory essays (one general, the other three divided amongst the parts). The editors anticipate that “the results are anything but conclusive and the coverage necessarily selective.” But this is a virtue: approaching its general topic via particular close studies, “this book will intrigue readers from various backgrounds to think further” about a wide range of questions indeed.In what follows I seek to give an impression of each chapter’s argument on its own terms and in some relation to the volume’s purpose. For reasons of space I do not direct much attention to the introductions, which, however, should be recognized not only as substantial historical surveys but also as successful evocations of how a study of “transformative change” in Western culture well serves to raise fascinating questions. [End Page 492]Part one focuses on “Antiquity and Archetypes.” In their own chapter, the editors argue that “Medea... is the first, and by far the most prominent, human agent of transformation” in Ovid’s Metamorphoses (89). Further, “the human metamorphic involves a series of steps that must be carefully performed... this amounts to a veritable ‘technology of transformation’ entailing special skills and knowledge.” Ovid’s Medea thus represents a change in genre, a metapoetic change as much as a change in metamorphosis itself. The editors conclude by emphasizing this “overall reading of the episode as an elaborate allegory of poetic competition” (123) which depends on “Medea’s special status as the metaliterary champion of a rival poetic vision” (122).Sonia Macrì develops a similar argument about discourse, seeking “key coordinates in ancient thought to do with the distinction, but also the porous boundaries and interfaces, between animate and inanimate nature and diverse kinds of knowledge, from the folkloristic to the scientific” (133). Macrì argues that, for example, “ancient lore about the lynx and its precious stone interrelates the world of nature... and the world of myth: various types of speculation... relate the peculiarities of the animal, its urine, and its fossilized end-product to the human sphere” (139). Macrì concludes with a point about discourse that is intriguingly similar to that made in the previous chapter: Ovid’s “myth-historical narrative of how our world came into being simultaneously draws on and trumps the discourses of natural history and paradoxography” (147).Questions of discourse and genre are raised as well by Manuel Baumbach, who argues that the figure of Proteus is a symbol “that involves poetic inspiration and textual production as much as textual reception” (153) and that ultimately assumes “the role of ‘generic memory’ (Gattungsgedächtnis) within the Greek epic tradition” (154). Having acquired in Homer “his self-reflective significance above all in his narrations,” Proteus “becomes a figure of metapoetic significance” in later authors (161). In Nonnus, Proteus becomes “a Muse of inspiration... (shrink)

To raise the question of the nature of narrative is to invite reflection on the very nature of culture and, possibly, even on the nature of humanity itself. So natural is the impulse to narrate, so inevitable is the form of narrative for any report of the way things really happened, that narrativity could appear problematical only in a culture in which it was absent—absent or, as in some domains of Western intellectual and artistic culture, programmatically (...) refused. As a panglobal fact of culture, narrative and narration are less problems than simply data. As the late Roland Barthes remarked, narrative "is simply there like life itself . . . international, transhistorical, transcultural."1 Far from being a problem, then, narrative might well be considered a solution to a problem of general human concern, namely, the problem of how to translate knowing into telling,2 the problem of fashioning human experience into a form assimilable to structures of meaning that are generally human rather than culture-specific. We may not be able fully to comprehend specific thought patterns of another culture, but we have relatively less difficulty understanding a story coming from another culture, however exotic that culture may appear to us. As Barthes says, "narrative...is translatable without fundamental damage" in a way that a lyric poem or a philosophical discourse is not. · 1. Roland Barthes, "Introduction to the Structural Analysis of Narratives," Music, Image, Text, trans. Stephen Heath , p. 79.· 2. The words "narrative," "narration," "to narrate," and so on derive via the Latin gnārus and narro from the Sanskrit root gnâ . The same root yields γνωριμος : see Emile Boisacq, Dictionnaire étymologique de la langue grecque , under the entry for this word. My thanks to Ted Morris of Cornell, one of our greatest etymologists. Hayden White, professor in the program of history of consciousness at the University of California, Santa Cruz, is the author of The Tropics of Discourse: Essays in Cultural Criticism, The Greco-Roman Tradition, and Metahistory: The Historical Imagination in Nineteenth Century Europe. " The Narrativization of Real Events" appeared in the Summer 1981 issue of Critical Inquiry. Critical Responses to the present essay include Louis O. Mink's "Everyman His or Her Own Annalist", and Marilyn Robinson Waldman's "The Otherwise Unnoteworthy Year 711: A Reply to Hayden White," both in the Summer 1981 issue of Critical Inquiry. (shrink)

Belief in the benevolence of free markets has become a fundamental credo of professional experts, economists, business people and politicians. We regard this discourse as part of a new culture of markets, which has also taken root in Southeast Asia. Expanding markets and using high-tech devices of communication are interpreted as cultural systems that are used in the construction of modernity. An `unbridled romanticism of productivity' (Baudrillard) and a `romance of capitalism' are the meta-narratives underlying the (...) class='Hi'>culture of markets. This theme is followed up on two empirical levels. The development policy of three Southeast Asian governments, namely Malaysia, Vietnam and Indonesia, is briefly characterized as market corporatism, market socialism and high-tech developmentalism. We then focus on the emergence of the new middle classes, their actual and symbolic consumption and their lifestyles. Finally the decline of real markets, the creation of virtual markets and the state of postmodernity in Southeast Asia are discussed. We conclude that market fundamentalism and postmodern lifestyles characterize the beginning rather than the end of modernity in Southeast Asia. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aestheticism and SpiritualismA Narrative Study of the Exploration of Self through the Practice of Chinese CalligraphyMing-Tak Hue (bio)IntroductionCalligraphy has been used to preserve significant writings and texts in a beautiful form and to make the different styles of writing enjoyable. It is not only the art of beautiful handwriting but also a cultural heritage and tradition that reflects the culture and history of a society, a race, a (...) nation, and a country. Hence, it has very great educational value. In China calligraphy is done with a brush, which was a common writing implement in ancient times. In addition to its utilitarian function, calligraphy is the most fundamental element in other types of art, such as painting and seal-carving, and is closely connected to many subject disciplines, such as literature, history, and philosophy. Brush calligraphy is still popular in Chinese society and is frequently used in different forms of publication, such as banners and newspapers; however, it is becoming more popular for these publications to be created mechanically or in electronic form with computers rather than by hand. In the context of schooling, a similar phenomenon can be seen. Many teachers in Hong Kong, as elsewhere, are concerned that fewer and fewer students have the chance to write with a pen and enjoy the beauty of writing, as the use of computers and different types of electronic devices for writing become more popular with the general public.The aim of this article is to examine the meaning of the practice of Chinese calligraphy from a cultural perspective and to draw school practitioners' attention to the importance of calligraphy education in the promotion of the whole-person growth of students and of multicultural education. Relevant literature on Western and Chinese calligraphy will be reviewed. Then an explanation will be given on how a narrative approach to the personal experience method and textual analysis were adopted for the data analysis. The article argues that calligraphy serves more than a utilitarian function. It [End Page 18] has also been used as an aesthetic practice and spiritual discipline. Hence, it is suggested that the calligraphy of brushwork is not only delightful to the eye but also an inspiration to the spirit. It is a practice of mindfulness for promoting self-reflection and self-cultivation, which leads calligraphy practitioners to reflect in their mind and heart, and so brings them into a harmonious relationship with others and the natural world.Literature ReviewIn Western societies for the last one hundred years, calligraphy has been rediscovered and relearned.1 Knight pointed out that the heritage and traditions of calligraphy have not been properly addressed and inherited in Western societies. Uyehara further suggested that calligraphy had been basically restudied and relearned in Europe and the United States up until the end of World War II. Edward Johnston (1872-1944) could be the most influential scholar who attempted to rediscover the art of Western calligraphy, lettering, and illuminating. In his study of ancient inscriptions and old manuscripts, three essential qualities of calligraphy were identified: "legibility," "beauty," and "character."2 When creating a piece of artwork, calligraphers have to ensure the legibility of the letter forms, the mastery of the skills of creating beautiful writing, and the readability of their works. As he explained,To make good letters and to arrange them well. To make good letters is not necessarily to "design" them—they have been designed long ago—but it is to take the best letters we can find, and to acquire them and make them our own. To arrange letters well requires no great art, but it requires a working knowledge of letter-forms and of the reasonable methods of grouping these forms to suit every circumstance.3Similarly, Knight highlighted the essential qualities of "legibility" and "beauty." Further, he stressed that the "creativity" of calligraphy should be imposed upon the tradition and cultural heritage of ancient manuscripts. As he said,[M]any of the conventions we use today in letter design and typography were established during the manuscript age. To know the classic work of this period is to know more about the ground we stand upon. If we grasp the... (shrink)