This edition of Theoria encompasses an examination of the character of historical enquiry, critical encounters with contemporary perspectives in political theory, reflections on religion and the state, an exploration of the implications of the commodification of time and work and an examination of the role of human rights in the contemporary international context. In this it extends discussion of themes that have come to define the coherence and unity of the journal as an editorial project.
Zeynep Kılıç and Jennifer Petzen
This article invites scholars of race and migration to look at the visual arts more closely within the framework of comparative race theory. We argue that within a neoliberal multicultural context, the marketing of art relies on the commodification and circulation of racial categories, which are reproduced and distributed as globalized racial knowledge. This knowledge is mediated by the racial logic of neoliberal multiculturalism. Specifically, we look at the ways in which the global art market functions as a set of racialized and commodified power relations confronting the “migrant“ artist within an orientalizing curatorial framework.
Islam, Secularism, and Women's Fashion in the New Europe
This article examines another European iteration of the headscarf debate, this time in postcommunist Bulgaria, the European Union member with the largest Muslim minority. Bulgaria is a country that has always been at a crossroads between East and West, and women's bodies and their fashion choices have increasingly become the symbols of the "backward Orient" or the "corrupt and decadent West" for those on either side of an ongoing national identity crisis. For the Orthodox Christian/Secular majority, the headscarf represents all that is troubling about the country's Ottoman past and Islam's presumed oppression of women. For a growing number of Bulgarian Muslims, the miniskirt has come to represent the shameless commodification of women's bodies and the moral bankruptcy of global capitalism.
This article examines two German films which, in different ways, engage with ethical questions raised by scientific advances in biotechnology and the specter of eugenics: Blueprint (Rolf Schübel, 2003), an adaptation of Charlotte Kerner's Blaupause, and The Elementary Particles (Elementarteilchen, Oskar Roehler, 2006), a cinematic interpretation of Michel Houellebecq's novel with the same title. Assuming different positions, the films contribute to the divisive public debate surrounding human cloning. Their visions vacillate between dystopian warnings of a commodification of human existence and euphoric promises of the potential to genetically erase human flaws forever. The films' main concern, however, is a critique of ideological positions associated with the generation of 1968, and the directors use the debate on genetics to infuse this discussion with an element of radicalism. This article explores the ways in which the films engage with the memory discourse in Germany through the lens of discourses on ethics and biotechnology.
Paying Attention to Social Media
render its scale wider than ever before. Whether on Facebook, Tinder, Twitter, or Instagram: compulsory self-commodification and visibility (Foucault’s panoptic nightmare) is, increasingly, the only game in town. Our participation in the ‘virtual world
Space, Time, and Text
Benjamin C. Fortna
(both foreign and domestic) in the field of education, the physically distinct places for “modern-style” schooling, the rapid rise in literacy, and the commodification of a number of practices associated with learning and reading were all important
Textbooks during French Colonization and the Modern Literature of Global Tourism
, through its commodification. 41 Therefore, by valuing authenticity, beyond promoting the recognition of a group, one gives economic and market-added value. Thus globalization, an era devoted to economy and profit, through the uses it makes of a
New Insights in Revised Modernity and Its Implications on Archaeological Material
in various ways. The neoliberal commodification will probably continue to molder the once central place contract archaeology had in European archaeological research (cf. Kristiansen 2009b ; Larsson 2014 ). For this reason, if for no other, I support
Elizabeth S. Leet
as easily as her fictive flesh.” 16 Chivalric tales frequently refigure this objectification and commodification of female characters. By focusing on the female body as the woman’s principal sphere of influence over and above her speech or actions
probabilities. This statistical perception of reality is the basis of commodification of risks, and modern finance more generally. 3 Thus a distinction is made between uncertainty and risk: uncertainty is understood in financial economics as a condition in