822 resultados para myths and memories


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This dissertation identifies and challenges post-feminist narratives that remember the second wave or 1960s and 1970s liberal feminism as a radical form of activism. The narratives of three prominent post-feminist authors: Dr. Christina Hoff Sommers, Tammy Bruce and Dr. Laura Schlessinger are used as examples of how identification works as a rhetorical device that motivates individual actors to join in a struggle against liberal and radical feminist ideologies. I argue that each author draws on classically liberal and politically conservative virtues to define a "true" feminism that is at odds with alternative feminist commitments. I demonstrate how these authors create a subject position of a "true feminist" that is reminiscent of the classically liberal suffragist. In Burkean terms, each author constitutes the suffragist as a friend and juxtaposes her with the enemy--modern liberal and radical feminists. I articulate the consequences of such dialectical portrayals of feminist activism and further suggest that these authors' visions of feminism reinforce patriarchal practices, urging women to assimilate into a classically liberal society at the cost of social justice. In opposition to their memories of feminism, I offer a radical democratic approach of remembering feminism that is less concerned with the definition of feminism or feminist than it is with holistically addressing oppression and what oppression means to subjugated populations.

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Contemporary therapeutic circles utilize the concept of anxiety to describe a variety of disorders. Emotional reductionism is a detriment to the therapeutic community and the persons seeking its help. This dissertation proposes that attention to the emotion of fear clarifies our categorization of particular disorders and challenges emotional reductionism. I propose that the emotion of fear, through its theological relationship to hope, is useful in therapeutic practice for persons who experience trauma and PTSD. I explore the differences between fear and anxiety by deconstructing anxiety. Through this process, I develop four categories which help the emotion of fear stand independent of anxiety in therapy. Temporality, behaviors, antidote and objects are categories which distinguish fear from anxiety. Together, they provide the impetus to explore the emotion of fear. Understanding the emotion of fear requires an examination of its neurophysiological embodiment. This includes the brain structures responsible for fear production, its defensive behaviors and the evolutionary retention of fear. Dual inheritance evolutionary theory posits that we evolved physically and culturally, helping us understand the inescapability of fear and the unique threats humans fear. The threats humans react to develop through subjective interpretations of experience. Sometimes threats, through their presence in our memories and imaginations, inhibit a person's ability to live out a preferred identity and experience hope. Understanding fear as embodied and subjective is important. Process theology provides a religious framework through which fear can be interpreted. In this framework, fear is developed as an adaptive human response. Moreover, fear is useful to the divine-human relationship, revealing an undercurrent of hope. In the context of the divine-human relationship fear is understood as an initial aim which protects a person from a threat, but also preserves them for novel future relationships. Utilizing a "double-listening" stance, a therapist hears the traumatic narrative and counternarratives of resistance and resilience. These counternarratives express an orientation towards hopeful futures wherein persons thrive through living out a preferred identity. A therapeutic practice incorporating the emotion of fear will utilize the themes of survival, coping and thriving to enable persons to place their traumatic narrative within their meaning systems.

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This dissertation examines and develops Martin Heidegger’s concept of “falling” as a significant historical-philosophical principle. Falling, however, is primarily understood as a concept of the early Heidegger, whereas I argue that Heidegger continues to rely upon it, both explicitly and implicitly, throughout his career. Falling is a description ofphilosophical and Western history, known as metaphysics, and the description of man’s relationship to Being. Thus, falling relates to the most significant streams in Heidegger’s later thought, too, including the truth of Being, the death of God, the gods, the overcoming of metaphysics, and meditative thinking. I then reinterpret the traditional theology of the Fall narrative from Genesis in light of falling as philosophical concept, extending Heidegger’s own “destruction” of Western metaphysics in relation to one of its grounding myths. I move on to demonstrate the significance of a falling understanding in a rereading of the death of God and the end of metaphysics by examining Heidegger’s engagement with Nietzsche. I conclude by incorporating Jacques Lacan’s psychoanalysis as a further extension of Heidegger’s discourse on falling, showing that the subject’s discourse and relationship to the truth of Being is at the core of his constitution and neurosis.

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"For the past three decades, contemporary artist Gottfried Helnwein has shocked viewers with his Holocaust-related paintings, drawings and installations. Born in Austria in 1948, Helnwein witnessed the immediate aftermath of World War II in Europe from a child’s perspective. Consequently, the horrifying images summoned from Helnwein’s imagination are inspired by the memories and repercussions of this tragedy. His work addresses his parents’ unwillingness to speak of the atrocities as well as the exploitation of the Holocaust in contemporary popular media. His work questions not only how such a tragedy could have taken place, but also how contemporary perception of this event has been affected by total media saturation and the passage of time. To shock viewers, Helnwein portrays strikingly realistic images of distressed, wounded and morally ambiguous children in works that have been regarded as controversial and outspoken"

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This Master’s Research Paper investigates Olafur Eliasson’s The weather project as a case study for the dialogue between Gothic artistic principles and prominent elements of contemporary art. A product of a post-modern mindset, weakened historicity allows us to examine these connections anew; past, present, and future blur and artists (and viewers) have the whole of time from which to gain inspiration and meaning in works of art. I demonstrate similarities through theories on phenomenology; the spatiotemporal relationship between viewer and artwork; the convergence of art and science; and the communal, quasi-liminal experience of pilgrimage. I embrace Eliasson’s belief in the self-reflexive potential of art and the importance of the viewer’s own values, memories, and methods of seeing. This new interpretive layer will hopefully offer a richer experience for future participants of both Gothic cathedrals and environments produced by Studio Olafur Eliasson.

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In the aftermath of World War II, about 20,000 people who had experienced displacement entered Belgium.1 Among those there were about 350 soldiers serving in the Polish armed forces in the West, and about 4,000 ostarbeiterinnen - young female Soviet citizens who were deported to Nazi Germany to do forced labour. All the soldiers and Soviet women married Belgian citizens, and most settled in the home town or city of their spouses. This paper focuses on the war memories of these migrants in post-war life, memories that were arguably shaped not only by the characteristics of their war experiences themselves, but also by the changing positions which they held within their home and host societies. Following the migrants from their moment of settlement until today, the article highlights the changing dynamics of their war memories over time, starting during the Cold War era and ending up in present day Europe. As such, the study finds itself on the crossroads of memory and migration studies, two academic disciplines that only recently started to dialogue with each other.2 Before analysing the arrival, settlement and war memories of the Displaced Persons at study, I give an interpretation of academic literature on memory of World War II from the perspective of migration studies.

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The activity of the Federation of Expellees and its chairperson Erika Steinbach, including efforts aimed at establishing the Centre Against Expulsions have been and will continue to be a source of controversy in Germany’s domestic policy, as well as in Polish–German and Czech–German relations. Steinbach has become a central figure in German inter-party conflicts and in disputes with the country’s immediate neighbours. In her efforts to gain more publicity for injustice and suffering in the German past she has resorted to controversial methods and has thus latched onto another stage in the historical debate on the consequences of World War II. This time it is related to and interpreted from the point of view of the German victims. The consequences of the present debate on how Germany suffered during the war do matter and will continue to matter both for Germany itself and for Germany’s relations with its near neighbours. Contrary to popular belief, the debate, still underway and in the shape imposed by Erika Steinbach, is likely to bring some benefit to Poland.

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“The Franco-German friendship is rich in memories and gestures that are at once important and symbolic, and that characterize the exceptional nature of the relationship between our two countries,” reflects former French economics minister and European Commission President Jacques Delors. Such symbolic acts and joint memories are not primarily about cooperation in specific instances. Rather, more generally, they denote what it means to act together. They lend significance to a relationship; they signify what is “at stake,” or what it is “all about.” They are about a deeper and more general social purpose underlying specific instances of cooperation. They are about the value and intrinsic importance that social relations incorporate. Symbols contribute to the institutionalization of social meaning and social purpose in dealing with one another. In this paper I clarify the concept of “predominantly symbolic acts and practices among states,” systematically explore such acts for the bilateral Franco-German relationship between the late 1950s and the mid-1990s, and scrutinize the specific meaning and effects that these practices have helped to generate and perpetuate.

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The high hopes for rapid convergence of Eastern and Southern EU member states are increasingly being disappointed. With the onset of the Eurocrisis convergence has given way to divergence in the southern members, and many Eastern members have made little headway in closing the development gap. The EU´s performance compares unfavourably with East Asian success cases as well as with Western Europe´s own rapid catch-up to the USA after 1945. Historical experience indicates that successful catch up requires that less-developed economies to some extent are allowed to free-ride on an open international economic order. However, the EU´s model is based on the principle of a level-playing field, which militates against such a form of economic integration. The EU´s developmental model thus contrasts with the various strategies that have enabled successful catch up of industrial latecomers. Instead the EU´s current approach is more and more reminiscent of the relations between the pre-1945 European empires and their dependent territories. One reason for this unfortunate historical continuity is that the EU appears to have become entangled in its own myths. In the EU´s own interpretation, European integration is a peace project designed to overcome the almost continuous warfare that characterised the Westphalian system. As the sovereign state is identified as the root cause of all evil, any project to curtail its room of manoeuvre must ultimately benefit the common good. Yet, the existence of a Westphalian system of nation states is a myth. Empires and not states were the dominant actors in the international system for at least the last three centuries. If anything, the dawn of the age of the sovereign state in Western Europe occurred after 1945 with the disintegration of the colonial empires and thus historically coincided with the birth of European integration.

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Mode of access: Internet.

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Illustrated t.-p.

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Mode of access: Internet.

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"UIUCDCS-R-74-633"

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Thesis--Illinois.

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Thesis--University of Illinois at Urbana-Champaign.