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Abstract Women’s war literature allows the intolerable to be written because women writers often do not take part in wars with arms but rather with their pens, their voices and their intellects. In fact, women writers subvert history to create their own world and their own records. In this respect,
*This essay originally appeared in the December 2016 issue of TC Public Space, a student newspaper at Teachers College, Columbia University. The above image is a colorized print of Philip Dawe’s 1774 cartoon, “The Bostonians Paying the Excise-Man, or Tarring & Feathering.” We must confront a perhaps unsettling fact: Donald
If you can see, look. If you can look, observe. José Saramago We all die alone. There is no knowing what comes to one’s mind in the suspended time of our departure. It is known that, on their deathbeds, Turner claimed the Sun to be God, and that Goethe asked for
*The above image is from the third panel of The Garden of Earthly Delights, by Hieronymus Bosch. Whoever fights monsters should see to it that in the process he does not become a monster. And when you look long into an abyss, the abyss also looks into you.1 — Friedrich
Abstract Voicing many liminal selves and marginal subjects, particularly Arab immigrants has often been a main pre-occupation for most contemporary Arab writers living in the Diaspora or between home and Diaspora. A commitment to giving voice to unvoiced and marginalized individuals, mainly women and immigrants, is to be found in
The following text is a transcription of the presentation given at the 19th Annual meeting of the Society for Phenomenology and Media – 15th-17th March 2017. (originally published in: http://gustavoracy.wixsite.com/anthrophilosophy/single-post/2017/03/20/Walter-Benjamins-Concept-of-the-Image-the-case-of-Photography ) With no further ado, allow me to begin this presentation on the concept of image with, precisely, an image. Paul
(Here below, the editorial of the n. 4, 2016 of the Journal ‘Polis’, titled ‘The contribution of Critical Theory in understanding society‘, edited by Federico Sollazzo) Abstract Is Critical Theory a part of our knowledge we can access just in a kind of museum of history of ideas, or is
“From a very early stage the ideological history of the bourgeoisie was nothing but a desperate resistance to every insight into the true nature of the society it had created.” G. Lukács     Removing a statue of a philosopher? You may expect something like this to happen in Nazi
*Image via Wikimedia Commons Felipe Ziotti Narita São Paulo State University (Unesp) – SP, Brazil In an insightful essay published in the late 1960s, Marcuse (1969, 27) argues that the concept of revolution in Marxian theory encompasses a double movement: if the concept is deeply interwoven with the historical horizon
Ai Weiwei’s rhizomatic four gallery show (NYC, Fall 2016) may be the perfect opportunity to revisit the post-colonial argument brought to light by Thomas McEvilley’s review of MoMA’s 1984 exhibition  “Primitivism” in 20th Century Art. The essence of McEvilley’s inquiry being: By placing an Other in the cannon of contemporary art are
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