of its products. It not only reveals a remarkable dissonance between scientific knowledge (fact) and cultural belief systems, but also lays bare the tyrannical hold of culture in uniting, sustaining, and furthering obvious contradictions. The use of
‘Race’ in US American Language
A Bikoist Challenge to Professor Xolela Mangcu
fact, be black. I propose that because white people cannot experience the alienation that non-white people do, they cannot attain Black Consciousness and, thus, cannot be Politically Black. In my argument I first give Mangcu’s explanation of Biko
writers have argued that fractionalization per se is not conducive to violence or authoritarianism; rather, polarization … may be the problem.” The problem is that f and p have two different logics. F in fact, occurs in situations of ethnic and
By introducing 'drives' into a Sartrean framework, 'being-in-itself' is interpreted as 'Nature as such', wherein instincts dominate. Being-for-itself, on the contrary, has an ontological nature diametrically opposed to this former - indeed, in the latter realm, through a fundamental process of 'nihilation' (Sartre's 'freedom') consciousness perpetually flees itself by transcending towards the world. However, a kernel of (our) nihilated Nature is left at the heart of this process, in the form of 'original facticity' that we here name drives. Drives are the original feelings and urges of a freed Nature that simply are there; they are the fundamental forces that consciousness qua freedom always has to deal with. Drives, in addition, can be nihilated in their own turn, onto a reflective, irreal plane, whereby they take the form of value. This means Sartre's notion of ontological desire is always made up of two necessary components: drives and value.
The Transformation of Suicide in Western Thought
His suicide was imaginary. Suicide is probably never anything else, and that is why it is forbidden. Simone Weil, Gravity and Grace Suicide as Act and Fact Two moral shadows darken suicide. One of these is cast by medieval theology, the other by
I am full of admiration for Murray Smith’s Film, Art, and the Third Culture , which for convenience and with slight liberty I refer to as FACT . For one, it is among the most enjoyable reads I have ever had from a book in aesthetics. For another
The film Downfall, released in 2004 at the height of an unprecedented "Hitler wave," has to be seen in a long tradition of literary and cinematic attempts to deal with Germany's "unmasterable past." The filmmakers claimed that by focusing on Hitler's final days before the end of WWII they had discovered "new territory" and presented the "facts behind the guilt." This article points out, however, that the film is historiographically based on the account by Joachim Fest's book Downfall-in which the author, as in his earlier work, follows a methodological approach that personalizes history and focuses on Hitler as "singular personality," rejecting any systematic analysis of political and social context. The film goes even further in its unscrupulous blurring of fact and fiction and simplistically juxtaposes a very small group of perpetrators (basically Hitler and Goebbels) and the large group of victims, i.e., the general population that only wanted to survive. Such an attempt to focus on a tragically failing, isolates Hitler, who alone is to blame for nation's "Downfall" is hardly suitable to help Germans to step out of the shadow of their past.
Responses to Nuala O'Faolain's Are You Somebody?
Literary history might identify the 1990s as the decade of the memoir, as a period that witnessed a prodigious outpouring of sombre narratives of grim beginnings overcome in individual triumphs, or of scandalous escapades intimately exposed. However entertaining or shocking, few will be memorable, their highly personal recollections remaining pertinent to the lives of the authors alone. Publishing successes are often due to word of mouth recommendations as, for example, in the recent success of Lorna Sage’s excellent autobiography Bad Blood. Even in such cases we can claim that the writing is, as it were, consumed in a quiet way where its charms are celebrated in a low level, personalised propaganda which eventually leads to a more public recognition. Reviewers and publicity machines can play their part in the success of a book but we seldom find a situation where readers’ written responses amount to a collective and influential embrace which propels a publication into further public prominence.
The Person, the Role, the Theory
part because that whole project has lost favour, Meyer’s own reputation has suffered. In fact he is less well regarded today than are some of his contemporaries who rebelled against functionalism – notably Evans-Pritchard, perhaps Max Gluckman, and, of
A Basis For pan-Africanism and the African Renaissance
audacity, in 1830, to claim that Africa was no historical part of the world. Another British scholar, Martin Bernal (1991: 2 ), who argued that Greek culture borrowed heavily from Ancient Egypt, a fact that was normal until the intervention of 18 th and