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This article reflects upon the possibility of the visualisation of different forms of collective memory in the city. It focuses on the evolution of the ways of commemorating in public spaces. It juxtaposes traditional monuments erected in commemoration of an event or an “important” person for a community with (counter)monuments as a modern, critical reaction geared towards what is either ignored in historical narratives or what remains on the fringe of collective memory. While following a theoretical exploration of the concepts of memory and their fruition in monuments as well as (counter)monuments, the eventual multimodal analysis central to the paper looks in-depth at Ruth Beckermann’s work The Missing Image (Vienna, 2015). The latter is treated as an example of the possible and manifold interpretations of the function and multiplicity of meanings that (counter)- monuments bring to contemporary urban spaces.
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This paper deals with the principle of tolerance in our contemporary society in the attempt to highlight limits and paradoxes in the various aspects of minority issues. From this point of view, the first part of the paper discusses Kymlicka’s contribution to multiculturalism with regard to national minorities and immigrant communities, while the second part confronts his Theory of Minority Rights with Antonio Gramsci’s theory of hegemony and circle of humanity. Therefore, this paper aims at shifting the discourse over tolerance-related minority issues from a top-down approach toward an analysis of how tolerance is allowed to be performed. Thus, Gramsci’s philosophy of praxis is employed to disentangle moral and cultural set of values and norms within which both principle of tolerance and performativity of toleration are established and, in parallel, to reflect on reasons why others are not allowed to be performed.
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The article is an attempt to read the story The Maidens of Wilko by JarosławIwaszkiewicz in the light of Gilles Deleuze’s book Proust and Signs. Theinterpretation key is the concept of “sign” proposed and developed by the Frenchphilosopher.
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This article concerns the issue of recognition and de nition of a sports spectacle in terms of a cultural spectacle. The genesis of sports performances and their social background was pre- sented, and the conditions that must be met for something to be regarded as a sports spectacle were speci ed. Examples of the use of the sport events (including the Olympic Games) for political manipulation and propaganda were analyzed, as well as references to the categories of racial prejudice, discrimination and xenophobia. The analysis of photography was used to characterize the relationship between politics and sport, which is presented synthetically.
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In this paper I use a (post)phenomenological approach to clarify the objective cultural expansion of our technology. Thus, I establish a conceptual analogy between two different philosophical analyses of human– machine relations – one historical and one phenomenological. I develop the analogy between them and their corresponding concepts in several steps. (1) First, I present the Homo sapiens technicus tendency and then the phenomenological differentiation between body schema and body image. All of these elucidate our involvement with machines. (2) Then, I conceptualize the term ‘context’, coupling its structural stability with the idea of distextaulity in order to achieve a better empirical understanding of our technological contradictions. (3) I continue to develop and enrich the analogy by illuminating the functional similarities – fluid boundary, automation, complexity – between contextual structures on the one hand and body schemata on the other. (4) Finally, I explore a deeper causal and narrative connection between those strands, shedding light on an interesting twofold circularity: a circular causation and a double narrative within Homo sapiens technicus.
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In this article, we propose a comparative analysis of the symbolism of the god Hermes, focusing in particular on two of his representations: that of messenger of the gods and that of phallic god. The first of these representations sums up two essential attributes of the god: on the one hand, bearer of the message/ word of the gods (Hermes the Arcadian) and, on the other, guide of souls (Hermes Psyhopompos) to and from the World Beyond. The second representation, that of phallic god, may not seem to have a direct connection with the two attributes mentioned above. At the level of literal interpretation, the two representations are indeed parallel to each other – appearing that they cannot (or should not) ever intersect. However, a closer analysis of the symbolic meanings will lead us to the hypothesis that the god’s aspects are rather complementary than parallel. In other words, the attributes of messenger of the gods and guide of the souls are not “contradicted” in the second representation, but, on the contrary, they are found in another symbolic form or they are, at least, supplemented by another symbolic form.
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