The contemporary media landscape invites us to experience a belonging to various distant places, mourn the victims of faraway disasters, expose ourselves to foreign cultures and engage in political issues in places far from our local context of living. In other words, we are invited to become citizens of the world – cosmopolitans. But are we? And if so, how is such cosmopolitanism expressed in a given society, under what social conditions, and in relation to what media practices? Contemporary social theory depicts a global or cosmopolitan mode of orienting in the world as paradigmatic of social life in global modernity. To date, little is known about the structural realities of such orientations. Against this backdrop, the aim of the present study is to understand the potentially “cosmopolitan” character of peoples’ outlooks and practices, and the societal conditions in which they can be identified. On the one hand, the aim of the study is to contribute to the largely theoretical accounts of the “cosmopolitan” character of social life in present times, andon the other, to understand the specific role of various media practices in the process generally described as “cosmopolitanization”. Results yielded by a national survey deployed in Sweden (n = 1 025) show that the distribution of various cosmopolitan dispositions abides by logics of social stratification. In tandem with previous research, cosmopolitanism – when studied “from below” – has a tendency to emerge in more privileged spheres of society. Being “connected” and simply living in a potentially global media landscape does not nullify this pattern. Contrary to significant parts of popular and scholarly conviction, the media is no uniform, all-encompassing environment operating as a force of cosmopolitanization across all social strata. The results of this study point towards a “mediatized cosmopolitanism” that is impossible to disentangle from social context and the power dynamics pertaining to that context. / Det samtida medielandskapet tillåter oss att känna tillhörigheter till en mängd olika platser, sörja offer för katastrofer i fjärran länder, exponera oss för främmande kulturella uttryck och engagera oss i politiska frågor rörande platser långt bortom vårt lokala sammanhang. Vi tycks med andra ord bli inbjuda att bli världsmedborgare – kosmopoliter. Men är vi det? Hur uttrycks i sådana fall kosmopolitismen i ett givet samhälle - under vilka förhållanden och i relation till vilka mediepraktiker? Samtida samhällsvetenskaplig teori framställer ett globalt-, eller kosmopolitiskt förhållningsssätt som paradigmatiskt för det sociala livet i den globala moderniteten. Dock finns inte tillräckligt underlag för att förstå den strukturella verkligheten kring sådana förhållningssätt. Mot den bakgrunden är syftet med föreliggande studie att förstå den potentiellt sett ”kosmopolitiska” karaktären på människors förhållningssätt och praktiker och de förhållanden i vilka sådana orienteringar kommer till uttryck. Således är syftet å ena sidan att bidra empiriskt till teoretiska beskrivningar av vår kosmopolitiska samtid. Å andra sidan söker studien också förstå den specifika rollen av olika mediepraktiker i relation till den process som beskrivits som ”kosmopolitaniseringen”. Resultat från en nationell enkätundersökning i Sverige (n = 1 025) visar på en social stratifiering av kosmopolitiska orienteringar. I linje med tidigare forskning påvisar föreliggande studie att kosmopolitism studerad “underifrån” har en tendens att framförallt komma till uttryck i mer priviligierade samhällssfärer. Att vara “sammanlänkad” och helt enkelt leva i ett potentiellt sett globalt medielandskap motverkar inte den tendensen. I motsats till både populära och akademiska utsagor utgör inte medierna en unison och allomfattande miljö som sätter igång en process av kosmopolitanisering i alla samhällets skikt. Studiens resultat pekar istället mot en ”medialiserad kosmopolitism” som är omöjlig att förstå utan att ta hänsyn till sitt sociala sammanhang och de maktförhållanden som råder i det sammanhanget.

Thesis (M.A.)--University of Toronto, 2007. / Source: Masters Abstracts International, Volume: 45-06, page: 2858.

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Throughout 2015, the Islamic State (ISIS) was a major news story for its destruction of Ancient Near Eastern collections and heritage sites, which created a spectacle across media. The focus of ISIS’s infamous video uploaded in February of 2015 was the colossal statue of a Lamassu, which was an ancient Assyrian guard deity. By focusing on the Lamassu, this thesis aims to address the Western concept of a “cradle of civilization” and ISIS’s motivation for destroying the sculpture. I utilize Kwame Appiah’s philosophy of cosmopolitanism in order to flesh out the language in which ISIS is communicating, namely through its destruction. What becomes apparent is a complex relationship with Near Eastern antiquities, which is best understood by analyzing the motivations of local looters. To conclude, I use ISIS’s destruction in order to offer thoughts on the concept of destruction with an aim to open dialogue regarding differing cultural value systems.

Thesis (MMus (Music))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: Current musicological discourses in South Africa seldom engage with Afrikaans content and contributions, even though there is an acknowledged large body of writing on music in Afrikaans. These writings could significantly inform music and general historiographies in South Africa. This study discusses music-related articles in the following Afrikaans magazines and newspapers of the early twentieth century: Die Brandwag (1910-1921), Die Burger (1915-1948), Die Huisgenoot (1916-1948), Die Nuwe Brandwag (1929-1933), Die Brandwag (1937-1948) and Die Transvaler (1937-1948). The subject matter of a large proportion of these music-related articles comprises the history of Western European music. This includes biographies of composers and histories of stylistic periods, genres and instruments. Despite the physical distance between Europe and Africa, Afrikaners‘ attraction to Europe borders at times on a feeling of belonging to this tradition. This cosmopolitan notion of belonging has received little attention compared to themes of race, language and nationalism in twentieth-century South African historiography. A neglected Afrikaans discourse on music, however, presents an opportunity to explore the possibilities of cosmopolitanism in a further interpretation of Afrikaner identity and understanding of South African history. It is for this reason that the current study is primarily concerned with tracing the role of musical discourse in Afrikaner society between 1910 and 1948 by investigating notions of cosmopolitanism. The two theoretical strands of cosmopolitanism that will guide this study concern the work of Friedrich Meinecke (an early twentieth-century German scholar), and Kwame Anthony Appiah (who is still active in the field of philosophy). Meinecke‘s work is mainly concerned with the role cosmopolitan values played in the development of the National State, with specific reference to Germany from the late eighteenth century to the late nineteenth century. What attracts Appiah to cosmopolitanism is the freedom it provides for the individual to create her own identity. To be a citizen of the world need not be a rootless existence, but allows anyone to be a patriot of the country of her own choice. Meinecke‘s and Appiah‘s theories of cosmopolitanism, and their different positioning of the intersecting points between the spheres of the individual, the nation and the globe, will provide two theoretical frameworks informing the present author‘s attempt to interpret some of the materials collated for this study. The present writer believes that cosmopolitanism will prove an appropriate theory to uncover some elements of Afrikaner identity that has hitherto been ignored. / AFRIKAANSE OPSOMMING: Ten spyte van die omvang van Afrikaanse tekste oor musiek is daar in die hedendaagse tyd min musiekwetenskaplike diskoerse in Suid-Afrika wat bemoeienis maak met inhoude en bydraes wat in Afrikaans gemaak is. Hierdie Afrikaanse tekste besit die potensiaal om nie net musiekhistoriografie nie, maar ook algemene historiografie in Suid-Afrika meer geskakeerd in te klee. Die studie handel oor die musiekartikels in die volgende Afrikaanse tydskrifte en dagblaaie van die vroeg twintigste eeu: Die Brandwag (1910-1921), Die Burger (1915-1948), Die Huisgenoot (1916-1948), Die Nuwe Brandwag (1929-1933), Die Brandwag (1937-1948) en Die Transvaler (1937-1948) 'n Groot gedeelte van hierdie musiekverwante artikels bespreek onderwerpe uit die geskiedenis van Wes-Europese kunsmusiek. Dit sluit onder meer in komponis-biografieë, sowel as geskiedenisse van stilistiese periodes, genres en instrumente. Die Afrikaner se belangstelling in Europa grens soms aan =n gevoel van Europese solidariteit, ten spyte van die fisieke afstand tussen Europa en Afrika. Hierdie kosmopolitiese denkwyse verdwyn dikwels op die agtergrond ten gunste van ander temas soos ras, taal en nasionalisme in twintigste eeuse Suid-Afrikaanse musiekhistoriografie. 'n Verwaarloosde Afrikaanse diskoers oor musiek bied 'n geleentheid om moontlikhede van kosmopolitisme te ondersoek in 'n verdere interpretasie van Afrikaner identiteit en Suid-Afrikaanse geskiedenis. Dit is om hierdie rede dat die huidige studie idees van kosmopolitisme wil ondersoek ten einde die rol van die musiekdiskoers in die Afrikaner gemeenskap tussen 1910 en 1948 te bepaal. Die huidige studie steun op twee teoretiese modelle van kosmopolitisme soos afgelei uit die werk van Friedriech Meinecke ('n Duitse geskiedkundige van die vroeg twintigste eeu) en Kwame Anthony Appiah (hedendaagse filosoof). Meinecke se werk fokus hoofsaaklik op die rol wat kosmopolitiese waardes gespeel het in die ontwikkeling van die nasie-staat, met spesifieke verwysing na Duitsland van die laat agtiende eeu tot die laat negentiende eeu. Wat Appiah aantrek tot die idee van kosmopolitisme is die vryheid wat dit aan die individu bied om haar eie identiteit te skep. Om 'n wêreldburger te wees dui nie noodwendig op 'n ongewortelde bestaan nie, maar laat enigeen toe om 'n patrioot te wees in die land van haar keuse. Meinecke en Appiah se teorieë van kosmopolitisme, hul onderskeie posisionerings van die individu, die nasie en die wêreld en die snypunte tussen hierdie sfere, bied twee teoretiese raamwerke vir die huidige skrywer se interpretasies van die materiaal wat vir hierdie studie versamel is. Die argument word gemaak dat kosmopolitisme 'n gepasde teorie bied om voorheen geïgnoreerde elemente van Afrikaner identiteit te ontbloot.

In Russia and Argentina modernism arrived well before the advent of socioeconomic modernization, and found societies with restricted civil liberties, only nascent middle classes, and virtually non-existent public spheres. Despite these factors, within a span of some fifty years, Petersburg and Buenos Aires turned into vibrant literary capitals rivaling London, New York, and Paris as centers of literary modernism. This dissertation offers a new understanding of the period by exposing the critical role of publishers and cultural patrons in this extraordinary cultural advancement. I argue that they were able to reformulate their countries’ historically ambivalent positions vis-à-vis Western European civilization by working closely with avant-garde literary groups and viii promoting their literary works that combined sometimes contending, sometimes complementary cosmopolitanism and nationalism. My analysis of the interrelated processes of the development of print culture, national identity, and the literary public sphere in Russia and Argentina is informed by Benedict Anderson’s thinking about nationalism and print culture, Pierre Bourdieu’s treatment of publishers as key participants in cultural production, and the concept of the public sphere as seen by Jürgen Habermas. Close reading of select literary works of the 1920s shows that Russian and Argentine “peripheral” experiences, once transformed into artistic creation, became consonant with cultural practices of international modernism precisely because they combined both cosmopolitan and nationalist tendencies. Each of the writers considered—Jorge Luis Borges, Roberto Arlt, Veniamin Kaverin, and Konstantin Fedin—was able to formulate highly original and yet unmistakably national response to modernity. Following the writers’ trajectories from early literary experiments to the works of the late 1920s, when they renounced their youthful deviations and joined the literary (and sometimes even political) establishment, I show how these literary texts renegotiated the issues of national identity by reworking diverse and often “foreign” literary traditions into authentically Russian and Argentine prose. / text

This dissertation explores a family of theoretical models of humanitarian military intervention. A number of recent theorists, including Tesón, Caney, Buchanan, Orend, Moellendorf, and Wheeler, build their models from a perspective called ‘cosmopolitanism.’ They offer arguments based on the moral supremacy of human rights, the arbitrary character of territorial boundaries, and the duty to protect individual human beings exposed to serious and systematic violence by their own governments. I develop a model of intervention that recognizes the moral significance of political self-government. To the extent that international society should countenance a ‘duty to protect’ human rights, the duty ought to be constrained by a commitment to the values of self-government. The model developed in this dissertation also recognizes the significance of international law enforcement. Insofar as we should permit a role of enforcement for international human rights, that role should be constrained by formally accepted global principles and in particular by positive obligations to prevent and punish actions regarded as international crimes. These other global values are viewed with suspicion by cosmopolitan theorists, who tend to construe them in stark contrast to the vision of global responsibility for human rights protection. But I will show how these other values emerged simultaneously with cosmopolitanism and share many of its underlying intuitions. Because self-government and law enforcement are linked politically to the cosmopolitan vision, these two distinctive global values can be utilized as tools to fortify or expand cosmopolitanism by enlarging the global sense of responsibility for human rights. The aim of this project is to explain how these other values came to be neglected by cosmopolitan theorists, and why they should not be forgotten. / Thesis (Ph.D, Philosophy) -- Queen's University, 2013-09-25 12:11:55.056

Ever since I started working with animals, I felt an intrinsic motivation to develop relationships based on trust and mutual admiration. Working in the horse world, I became dismayed at the coercive methods used to assure progress and achieve competition goals. I moved to Burlington to pursue a career helping children. Working as a behavior interventionist I felt peace and satisfaction as I utilized my previous skills and knowledge learned from my work with animals and my undergraduate education. After about a year of work, I started to become frustrated and dismayed at the treatment of some of our children. This SPN thesis is an exploration of those challenges and who I wish to become as I move forward in my career.

This thesis investigates Stalin’s post-WW2 anti-cosmopolitan campaign by comparing the lives of two Soviet-Jewish artists. Zinovii Tolkachev was a Ukrainian artist and Pavel Antokol’skii a Moscow poetry professor. Tolkachev drew both Jewish and Socialist themes, while Antokol’skii created no Jewish motifs until his son was killed in combat and he encountered Nazi concentration camps; Tolkachev was at the liberation of Majdanek and Auschwitz. Both men were excoriated during the “anti-cosmopolitan” campaign. Using primary sources, I examine their art and the balance between Judaic and Soviet references, the accusations made and the connections between the attacks, the Holocaust, and Soviet paranoias of that era. While anti-Semitism played a role, I highlight the authorities’ reaction to their style and content. This moment in cultural policy was part of a continuum of reactions to World War II and included themes that went beyond the native anti-Semitism of the period.

O objetivo deste trabalho é fornecer uma análise de formas contemporâneas de pensamento e atitudes fundamentalistas à luz do filósofo italiano Gianni Vattimo, que postula que existiriam duas maneiras de pensar no processo de interpretação e construção do sentido: uma forte, que pressupõe uma verdade absoluta, e a outra fraca, que pressupõe uma verdade construída, o que não implica uma ação fraca, mas a abertura de possibilidades para mudanças profundas. O processo de construção da verdade forte produz verdades violentas, no sentido de que exclui outras verdades concorrentes. Neste trabalho, tomamos como base os fundamentalismos religiosos para refletir sobre outras formas atuais de fundamentalismo. O trabalho representa uma tentativa para evitar diferentes confrontos violentos entre variados pensamentos fundamentalistas. / The objective of this work is to provide an analysis of contemporary forms of fundamentalist thought and attitudes, in line with the Italian philosopher Gianni Vattimo, who postulates that there are two ways of thinking in the process of interpretation and meaning making: a strong one, which presupposes an absolute truth, and a weak one, which presupposes a constructed truth though not implying a weak possibility of action, but an opening of new possibilities for profound changes instead. The process of truth construction produces violent truths in the sense that it strongly excludes other competing truths. In this research, forms of religious fundamentalism are taken as starting points in a reflection on other present-day forms of fundamentalism. This work aims at the avoidance of various violent confrontations among several kinds of fundamentalist thoughts.