Heart of Darkness does raise several issues when used in a teaching context. For instance, the novella depicts the Congolese as primitive, animalistic, ignorant, and superstitious. Thus, it perpetuates racist tropes about Africans that unfortunately still exist today. In an era marked by heightened awareness of racial and social inequality, the language in Heart of Darkness becomes extremely offensive because it subjects the racialized reader to language that is hard to digest. However, this essay attempts to illustrate how a critical reading of Heart of Darkness shows that the novella is far too complex to be reduced to the epitome of racist discourse, namely because it illustrates the inherent ambivalence that characterizes the Victorian, imperialist, colonizing West. Taught the right way, Heart of Darkness has the potential to provide students with the knowledge necessary to comprehend that race is a social construct that is developed, generated, and replicated discursively through various ideologies with the express intention of defending the unequal treatment of people and groups

Pragmatist Receptions of Martin Heidegger”. This paper studies theAmerican Pragmatist reception of Heidegger’s thought. The article briely presentsBrandom’s and Okrent’s readings of Heidegger, paying attention afterwards toRorty’s articulation of the Heideggerian legacy with the work of Wittgensteinand classical Pragmatists, especially Dewey. Rorty’s appropriation of Heideggerassumes a philosophical and metaphilosophical anti-essentialist commitment.This commitment requires some reading operations in relation to the lastHeidegger, who cannot be easily assimilated by the Pragmatist tradition. Thetension between irony and nostalgia will be crucial for Rorty’s appropriation ofHeidegger’s thought. / En el presente trabajo se hace un recorrido por la recepción norteamericanaen clave pragmatista de la obra de Heidegger. Se presentan sucintamentelas lecturas realizadas por Brandom y Ockrent, para luego concentrarse en laarticulación que hace Rorty del legado heideggeriano con la obra de Wittgensteiny de los pragmatistas clásicos, especialmente Dewey. La apropiación rortiana deHeidegger supone un compromiso antiesencialista, a nivel ilosóico y metailosóico,que requiere una serie de operaciones de lectura en relación, especialmente,con el último Heidegger, de difícil asimilación por parte de la tradición pragmatista.La tensión entre nostalgia e ironismo será una clave de dicha apropiacióny una oportunidad para pensar sus límites.

In Gonzalez et al. v. Mexico, a case decided by the Inter-American Court of Human Rights in 2009, a context of discrimination and violence against women was known to target particular subgroups of women, of which the claimants were constituent, distinguished inter alia by their age, socioeconomic and, in some cases, migrant status. Despite this, the judgment of the Inter-American Court focused almost exclusively on sex discrimination and violence against women as a broader social phenomenon. With this judgment forming the background for the critique, the author will develop an anti-essentialist framework for the analysis of discrimination and violence against women claims where the discrimination was compounded by various identity factors. Intended to assist the Inter-American Court with its articulation of norms and standards in such cases, the ultimate value of this framework should be measured in terms of the assistance it can offer the Court at the reparations stage.

In Gonzalez et al. v. Mexico, a case decided by the Inter-American Court of Human Rights in 2009, a context of discrimination and violence against women was known to target particular subgroups of women, of which the claimants were constituent, distinguished inter alia by their age, socioeconomic and, in some cases, migrant status. Despite this, the judgment of the Inter-American Court focused almost exclusively on sex discrimination and violence against women as a broader social phenomenon. With this judgment forming the background for the critique, the author will develop an anti-essentialist framework for the analysis of discrimination and violence against women claims where the discrimination was compounded by various identity factors. Intended to assist the Inter-American Court with its articulation of norms and standards in such cases, the ultimate value of this framework should be measured in terms of the assistance it can offer the Court at the reparations stage.

Dans Trouble dans le genre, Judith Butler conteste l’aspect identitaire du féminisme, qui selon elle produirait de nouvelles possibilités d’exclusion, basées sur la catégorie même de « femme ». Je ne contesterai pas le mouvement qu’elle adopte, à savoir que la sexualité informe du genre, qui produit le sexe, bien que j’exposerai les difficultés que cela soulève. Mon intérêt se situe dans la vision que Butler a de la formation des sujets individuels et de leur rattachement à des identités collectives, via la performativité du genre. Sa position voulant que le genre soit un acte et l’identité une pratique, je vais expliquer comment elle conçoit l’humain constitué par ses actes et critiquer, avec deux auteures féministes, sa conception du genre. J’en conclurai que Butler doit admettre qu’une forme d’identité féminine soit nécessaire au féminisme tout en tenant compte de son plaidoyer d’inclusion des individus aux sexualités marginales. / In Gender Trouble, Judith Butler challenges feminism as identity politics, which, according to her, would produce a new set of potential exclusions, based on the category “woman”. I will not dispute how she articulates that sexuality gives sense to gender, which produces sex. My interest lies in how Butler understands the process of becoming a subject for an individual, and how people tend to belong to a collective identity, via gender performativity. She states that gender is an act and identity a form of practice. I will explain how she understands that human beings are constituted by their acts and criticize, according to two feminist authors, her conception of gender. I will conclude that Butler has to admit that some kind of feminine identity is necessary to feminism, even when we consider her plea for the inclusion of individuals sexually marginalized.

[pt] Na teoria político-jurídica, o Leviathan é o monstro que a assombra. É possível, contudo, uma leitura da obra de Hobbes que evite esta assombração: que revele uma concepção da ideia de soberania sem as mitificações que o conceito geralmente traz consigo. É possível até perceber uma certa ironia na filosofia hobbesiana, que devolve esta assombração ao próprio leitor quando este encara a soberania como tabu. Isto, pois, a partir de um resgate da filosofia primeira de Hobbes, obtemos várias estratégias que permitem desconstruir discursos de autoridade. E Hobbes faz isto para refutar as dos que, em geral, consideram-se mais sábios que os outros, como escolásticos, juristas e cientistas. Com isto, ou haveria uma enorme contradição em sua teoria política, ou um sentido oculto que, ao mesmo tempo que propõe a autoridade, rebaixa-a a um mero tabu. Adotando a segunda hipótese, obtemos uma teoria para refutar discursos que fundamentam a autoridade em categorias transcendentais ou logocêntricas. Esta refutação pode ter aplicações no contexto político atual, pois a utilização de tais categorias é recorrente para impor limites à democracia. Ao mesmo tempo, eliminando a mitificação da soberania, Hobbes permite enxergá-la apenas como os pontos de conexão inicial e final de um sistema concebido para obter decisões políticas, o que, em uma democracia, como o filósofo propõe, deve ser o próprio demos. É a partir desta releitura de Hobbes que o presente trabalho apresenta estas conclusões, ao mesmo tempo que refuta uma interpretação tradicional de sua filosofia, que o vê apenas como mais um jusnaturalista. / [en] In legal and political theory, Leviathan is its scary monster. However another reading is possible; a reading that avoids that dread: one that reaveals a concept of sovereignty without all the mythifications that it usually brings together. It s even possible to sense a certain hobbesian irony which shows that the dread was within the reader himself when he faces sovereignty as a taboo. This becomes possible when we rescue Hobbes first philosophy, recovering many strategies proposed by the philosopher that allow us to deconstruct discourses of authority. And Hobbes does that to refute those that, in general, consider themselves wiser than the others, like scholars, jurists and scientists. By that reading, either there is a big contradiction in Hobbes political theory, or a hidden meaning, namely, that, at the same time Hobbes proposes the sovereign authority, he demotes it to a mere taboo. Adopting the latter, we obtain a theory that makes possible to rebut authority discourses based on transcendental and logocentric categories. This rebuttal may be applied in contemporary political contexts, as those categories are recurringly used to impose limits on democracy. At the same time, by demythifying sovereignty, Hobbes allows us perceive it only as an initial and terminal nodal connector in a system conceived to extract political decisions, one that in a democracy must be the demos itself. It s by this reading of Hobbes philosophy that this work presents its conclusions and at the same time refutes a traditional intepretation of the same: one that perceives Hobbes only as another natural law philosopher.

<p>Den här uppsatsens syfte är att undersöka tystnadens kommunikativa funktion i två svenska teaterpjäser, Leka med elden av August Strindberg och En talande tystnad av Erland Josephson. I min metod använder jag mig av en anti-essentialistisk hållning och intresserar mig i första hand för tystnadens funktion.</p><p>Tystnaden analyseras utifrån tre ingångar: dess relevans, konceptualisering och distanserande/förenande funktion. Analysen visar skillnader pjäserna emellan vad gäller tystnadsindikationer i teatertexten. En talande tystnad regisserar oftare explicit pauserna medan tystnaden i Leka med elden endast är antydd i texten och får sin relevans i Holms regi. Metaforer som avslöjar tystnadens konceptualisering förekommer i En talande tystnad men inte alls i Leka med elden. Tystnaden konceptualiseras både som en aktivitet och som ett tillstånd. I En talande tystnad har tystnaden främst en distanserande funktion, i Leka med elden en förenande funktion i högre grad men denna visar också exempel på en distanserande funktion hos tystnaden.</p><p>Min slutsats är att tystnadens funktion sammantaget i Leka med elden är att skapa en form för scenisk effekt, det vill säga, att vara dramatiskt effektiv. I En talande tystnad är tystnaden tematisk och en del av pjäsens själva innehåll.</p>

Den här uppsatsens syfte är att undersöka tystnadens kommunikativa funktion i två svenska teaterpjäser, Leka med elden av August Strindberg och En talande tystnad av Erland Josephson. I min metod använder jag mig av en anti-essentialistisk hållning och intresserar mig i första hand för tystnadens funktion. Tystnaden analyseras utifrån tre ingångar: dess relevans, konceptualisering och distanserande/förenande funktion. Analysen visar skillnader pjäserna emellan vad gäller tystnadsindikationer i teatertexten. En talande tystnad regisserar oftare explicit pauserna medan tystnaden i Leka med elden endast är antydd i texten och får sin relevans i Holms regi. Metaforer som avslöjar tystnadens konceptualisering förekommer i En talande tystnad men inte alls i Leka med elden. Tystnaden konceptualiseras både som en aktivitet och som ett tillstånd. I En talande tystnad har tystnaden främst en distanserande funktion, i Leka med elden en förenande funktion i högre grad men denna visar också exempel på en distanserande funktion hos tystnaden. Min slutsats är att tystnadens funktion sammantaget i Leka med elden är att skapa en form för scenisk effekt, det vill säga, att vara dramatiskt effektiv. I En talande tystnad är tystnaden tematisk och en del av pjäsens själva innehåll.

Over 40% of the more than 100 million people displaced worldwide are children (UNHCR, 2023). Multicultural literature is used in classrooms to provide representation to and build empathy for children with diverse backgrounds. Books featuring refugee characters and experiences are increasing. The complexity of identities represented in these books is dominated by common tropes of trauma, helplessness, and a perilous journey. Identity complexities remain neglected in multicultural research. The emerging theory of RefugeeCrit forefronts authentic understanding of refugee experiences and complex identities (Strekalova-Hughes, 2019).This study undertakes a critical content analysis of three refugee-themed children’s books. By applying two critical visual methodologies—in constant conversation with RefugeeCrit—I analyzed how trauma, helplessness, agency, the journey, and anti-essentialized complex identities were represented. These tropes were embedded in the books explicitly and through implied interpretation, but glimpses of complex identities were also shown in original interactions between word and image. The results show the potential of RefugeeCrit to extract problematic representations and the continued importance of critical evaluations of representations in refugee-themed literature.

寫作這篇論文的動機，是為了探討哲學家George Dickie的藝術制度理論(Dickie’s institutional theory of art)。在第一章中，回顧哲學家Arthur Danto與Morris Weitz的反本質主義(anti-essentialism)，及其如何影響Dickie藝術制度理論的發展，以及研究制度理論的重要性；第二章中，說明Dickie的藝術制度理論內容，並以實際的作品為例子講述藝術制度理論的應用；第三章至第四章中，整理反對藝術制度理論的數個哲學家(Jeffery Wieand, Robert Stecker, Stephen Davis, Richard Wollheim, Noël Carroll)的重要論點，並為Dickie的藝術制度理論辯護。最後第五章為結論，提出「藝術眼鏡」此一觀點用以修正藝術制度理論。 / The purpose of this paper is to investigate George Dickie’s institutional theory of art. I will first discuss Arthur Danto and Morris Weitz’s anti-essentialism, which is the groundwork for Dickie’s institutional theory of art. I will then discuss Dickie’s institutional theory of art, which has been developed as two versions. Both versions have been widely criticized. Stephen Davis argues that art created outside any institution seems possible, although Dickie’s institutional theory of art rules it out. Noël Carroll argues that Dickie’s definition of art is circular, and his institutional theory of art fails to distinguish art institutions from other social institutions. Jeffery Wieand argues that Dickie’s perceptually indistinguishable objects argument fails to show that his institutional theory of art is tenable. In this paper, I will argue that Dickie’s theory can be modified as “the glass theory of art.” If this is true, then these criticisms fail to undermine Dickie’s theory, and Dickie’s theory is still powerful.