ideal of modernity, that is, fraternity. However, in a brief passage in A Theory of Justice ( TJ ) he wrote that the Difference Principle (DP) could be used to conceptualise it. 1 In this article we will firstly check what Rawls said in that famous
The author provides a historical analysis of the use of gender metaphors in republican discourse, chiefly the representation of the republic as a father (patria) and as a mother (matria). Both metaphors are present throughout the history of Western political thought, from ancient Rome to the Modern Era. The text shows that their use has profound implications in the way citizenship is conceived and loyalty to the republic can be justified. Finally, the text also identifies a third republican metaphor, fraternity, which has been mostly neglected by republican thought, with few important exceptions. The author concludes by exploring the normative and theoretical possibilities opened up by substituting fraternity for the gendered metaphors.
A New Idea of Democracy in Sartre's Hope Now
attempt to elaborate an existentialist ethics. He aims at a deep renewal of the Left based on an ethics of fraternity, which could be interpreted as an original bond between people, based on a primary interdependency among individuals. This ethical
Modern Slavery and the Re-description of People (and Democracy) in Spain and Chile
identify some key concepts, namely, people , sovereignty , equality , fraternity , the counterconcepts freedom and slavery , and the metaphor “modern slavery.” But above all, I shall try to show that Modern Slavery , together with Lamennais's The
Patricia Anne Simpson
In this article, I analyze the social and cultural trends from within the music scene that counter challenges the moderate and extreme right. This music centers on the issue of ethnic exclusivity and aggressively insists on accepting Germany as a diverse society, however uncomfortable a fit that may still be for many. Certain bands and musicians move from politics to identity politics, in an attempt to generate a discourse about racism and national identity. By foregrounding the contingent relationship between citizen and nation, bands like Advanced Chemistry destabilize any naturalized or motivated link between self and state. Songs like "Fremd im eigenen Land" dismantle any proprietary relationship between German ethnicity and entitlement to the rights of citizenship. An image of a new Germany emerges that insists on the political acceptance of diversity. Nevertheless, this vision is subject to the pressures of reality: Germany is not by any stretch of the imagination a hate-free zone. Structured in part by responses to alienation within Germany, as well as by imported musical forms of male affinity, some bands, rappers, and musicians are organizing themselves into new fraternities. While criticizing or rejecting certain Americanized clichés of masculinity, the bands I discuss look beyond the caricatures of yuppies and cowboys to different models.
systemic dehumanization they suffered when they sought justice. Chanel Miller's Know My Name (2019) describes the aftermath of being sexually assaulted, when she was just out of college and still living at home, by someone she met at a fraternity party
Much has been written about German right-extremist groups, regardless of whether they are neo-Nazi political parties or skinheads, but little has been published about their recruitment of new members and sympathizers. As is true of any group, the rightist movement needs constantly TO replenish its ranks in order not to shrink. Thus, they seek recruits in the high school and university student populations. In the latter, they have wooed members of conservative fraternities especially. Moreover, they have sought to win over recruits and officer trainees in the German armed forces. This article assesses their degree of success and raises the questions whether the recruitment by rightist groups differs from democratic groups and whether the rightist groups pose a threat to the existing democratic system.
Longfellow and the Campaign for Poets' Corner
David Haven Blake
In 1884, a bust of Henry Wadsworth Longfellow was unveiled in Poets' Corner, Westminster Abbey, positioning the American between memorials to Geoffrey Chaucer and John Dryden. Longfellow was the first foreign author thus honoured, and his selection created transatlantic controversy. Through newspapers and correspondence, this article explores how Longfellow's bust came to be in Poets' Corner, tracing the role of its organizer, Dr William Cox Bennett, his benefactors in government and the Palace, and a host of distinguished contributors to the campaign. While nineteenth-century celebrity is often described as a public phenomenon accompanied by crowds of cheering admirers, the memorialization campaign centred on transatlantic elites who praised Longfellow's virtue, humility, and internationalism. The article examines how the campaign shaped the meaning of both Poets' Corner and late nineteenth-century transatlantic fraternity and argues that it also became the setting for conflicting ideas about literature, cosmopolitanism, national memory, and Victorian racial theories.
Subversive Virtual Fraternity in the Israeli Men's Magazine Blazer
Steven Fraiberg and Danny Kaplan
This article examines the reconstruction of a virtual Israeli male fraternity in Israel's only men's lifestyle magazine, Blazer. Modeled after the global 'new lad' magazine format, the Blazer text engages its readers by forging a homosocial joking relationship. Focusing on a satire dedicated to Israel's Independence Day, this study delineates a series of parodic discursive practices employed by the narrators to deconstruct and appropriate traditional Zionist myths on which Israel was founded. The Blazer text thus mobilizes a key cultural trope known as the anti-freier frame (to avoid being a 'sucker'), implemented as a set of manipulations to outsmart the system. The Blazer text rearticulates the relationship between self and society based on a local version of the 'yuppie' value system. We argue that while this frame appears to reject collectivist values, it serves as a critical lens for connecting yuppie masculinity with its Sabra predecessor, thereby consolidating a modified form of national solidarity.