Production Of Consciousness Research Articles

Hegel’s Concept of Intellectual Development in Human History

Hegel undoubtedly, one of the most famous philosophers of the modern time, sees human history as a dialectical method which involves thesis, antithesis and synthesis. This famous method which is also commonly referred to as dialectics was the brainchild of Hegel who considered human history as a process of development involving human spirit, consciousness and freedom. Starting with the thesis, Spirit is an abstract entity which already contains its antithesis. Spirit becomes real through its antithesis of human consciousness. Human being, the opposition of Spirit, helps the Spirit to actualize its self-purpose of freedom. When the Spirit finally attains its purpose i.e. freedom becomes the synthesis. This process in history continues but in higher form than the first. For inherent in every synthesis (which in turn becomes the thesis) is its antithesis, then to synthesis. Hegel considers the ultimate aim of human history as to attain freedom which is the final product of spirit and consciousness. Development comes out as a parallel but the vital product of this process of freedom in human history. Freedom, spirit and reasoning are some of his key concepts in this regard which he tends to connect with human history in a meaningful manner. Precisely, Hegel observes and interprets human history as the process of attainment of a better state of freedom and development. This study aims to briefly explain and discuss the key concepts of Hegelian philosophy of development and how human history has progressed towards development and freedom.

Music, Intermediality, and Shock in Ulysses

This essay studies intermedial compo sitional practice in Ulysses, a text that extends musical reference and the phono-icon to reconfigure textual articulations of knowledge, sociality, and emotion. In Ulysses, music with its formal quali ties serves as a complex marker of affective surge and withdrawal, energy, and fatigue. Its production of consciousness as an “individuating rhythm” allows characters to admit music as an exemplary praxis especially able to hold attention, inform reality, and contain affect.

Філософсько-педагогічні витоки сучасних ідей здоров’ятворення в педагогічній теорії та практиці

The article deals with the general analysis of philosophical and pedagogical origins of modern ideas of health creation in pedagogical theory and practice. The actuality of problem of health saving and strengthening of student youth is established. It is summarized, that raised attention to the health saving aspect of professional training of future specialists can be explained by two circumstances: the most important resource of development in post-industrial conditions are human abilities, realization of which in social practice is provided by the somatic, mental and moral health of the individual. Secondly, the importance of noted aspect is due to the fact that fundamental training of individual to the systemic, strategic saving and strengthening of health gives a possibility for future specialists use opportunities, which are offered by post-industrial modernization with the interests of their own development. It is determined, that the health saving idea is not exclusively a product of modern pedagogical consciousness. Its origins date back to the early stages civilization development. The health saving ideas, which are typical for Western and Eastern civilizations are considered. It is established, that to the Western civilization inherent ways of health strengthening, which are connected with physical activity. It is summarized, that unlike to the described health-improving measures, those, which were used on the East, pursued another purpose – to improve the general state of organism, to bring it into harmony with the environment. The theoretical analysis of references on the interpretation of health saving in famous philosophers’ works is implemented. It is summarized, that the history of emergence of the doctrine about health goes beyond the boundaries of medicine, concretize not only medical, but also pedagogical data and general human, philosophical thought.  It is generalized, that a considerable step in understanding the idea of health creation had been made in Ancient Greece and Rome. The antique imagination about health saving training of personality was based on the awareness of necessity to achieve optimum in the ratio of physical and spiritual nature of human. Such vision of the problem of health saving and strengthening reflects a coherent unity of a human as a subject of individual health creation.

Interrogating the justice system in a multi-ethnic state: a study of selected Yoruba video drama

Law is a major instrument of maintaining cohesion in any given society. Its formulation, codification or unification as well as interpretation are major factors in determining the credibility of the criminal justice system and the level of legal conformity. The letter and spirit of the law are defeated when its formation, modulations, interpretation and enforcement are not products of the history and cultural values of a people. The focus in this paper therefore is an examination of the administration of justice in Nigeria through a textual analysis of selected Nigerian Video Drama. How do these characters treat or respond to law? Do judicial or legal officers (lawyers, judges, police, and prison officials) conform to rules in the discharge of their duties? Is there any consciousness of legality in the text? These and other questions are answered in this paper. Combining the historical and realist theories, this paper affirmed that if the justice system of a nation does not grow from its cultural values and history, the level of compliance would be reduced. The paper also established that judicial officers’ ethical values would be grossly influenced and affected by a legal system that is not a product of national consciousness. The paper concluded that when a particular legal system within a multi-ethnic nation ignores its historic relevance, the law of that nation dies and the resulting consequence is legal anarchy.Keywords: Letter of Law, spirit of law, justice, video drama, realist

Sounding the Nonhuman in Joyce’s “Sirens”

This essay explores Joyce’s attempt, in “Sirens”, to give articulation to the sounds made by objects and nonhuman beings, with the ultimate goal of destabilizing the boundary separating the human voice (and other forms of human expression) from nonhuman sound. The episode itself can be read as a catalogue of sounds, nonhuman and human, that interact with one another in the absence of a qualitative standard of judgment that would separate the human voice from nonhuman sound, music from “noise”, or conceptual language from sonic expression. Human characters in the episode become what Vike Martina Plock has called “soundboards”, or resonating bodies through which the sounds of their material environment achieve expression. Additionally, human bodies are fragmented metonymically into their sounding body “parts” detached from the unity of the human subject, which allows for new forms of sonorous collaboration between sounding objects and sounding body parts. Nonhuman sounds persist in contrapuntal relation with the voices and sounds of the human characters (and their sounding body parts), a phenomenon which forces us to expand our conception of the fugal form of the episode to include nonhuman entities as collaborators, or “voices”, within it. In this way, “Sirens” asks us to consider sound, and by extension music, not simply as the purely intentional product of a human consciousness, but also as a collective composition between human bodies (and body parts) and the sonic materials of their environment.

Charlotte Brontë’s First Person

This essay reads Charlotte Bronte’s use of first-person narration in Villette as a contribution to a Victorian reassessment of personal identity as material, heterogeneous, and adaptive. Challenging common readings of Bronte’s first-person fictions as displays of self-definition and authority, I unpack the relationship between the narrated and narrating person in both Jane Eyre and Villette to reveal dual operations of narrative—world-making strategies and adaptive tactics—that express competing notions of personhood. By comparing Villette (1853) to Jane Eyre (1847), we can chart a shift from a strategic to a tactical emphasis in narration indicative, I argue, of a broader movement in nineteenth-century thought from Cartesian dualism toward associationist and materialist theories of consciousness as adaptive and processual. Villette ’s narrative tactics demonstrate the potential in novel form to enact processes of being in the world that challenge both traditional concepts of a unified, self-contained consciousness and new Victorian scientific conceptions of a material mind only knowable from science’s “objective” perspective. Positioning Bronte’s novel form alongside psychological debates about the nature and study of mind, I show how the novel offers alternative methodologies and conclusions about the nature of personhood to those proffered by an emerging Victorian psychology. When Bronte’s first-person narrative produces (rather than assumes the prior presence of) a “person” narrating, it asks us to read that production of identity and consciousness as an experiment with what it means to experience oneself as, in the words of Jane Eyre, a “heterogeneous thing.”

ПАРАМЕТРИЧЕСКИЕ МОТИВАЦИОННЫЕ ОСНОВАНИЯ ФЛОРОНИМИЧЕСКОЙ НОМИНАЦИИ

Ryabko Olga Pavlovna – Ph.D. of philology, professor. Institute of philology, journalism and cross-cultural communication. Southern Federal University. The period of further development in the cognitive theory of nomination has been extensive in recent years. Our research has been concentrated on the formation of conceptual foundations in cognitive theory of flora nomination. The macrofield of flora namings embraces three microfields: parametric, pragmatic and locative-temporal ones. They determine motivation processes in cognitive theory of flora nomination, i.e., the presentation of systematic qualities in flora namings in the English language. The description and characterization of such qualities presupposes the existence of their taxonomic organization and methodology criteria, both general and practical ones. Flora namings on the phenomenological level are considered to be the products of naove-cognitive consciousness of language speakers. They are determined, from the one hand, by the external perceptive adaptations (parametric nomination) and, from the other hand, by practical needs (pure pragmatic nomination) and local-temporal nomination. In this article we have concentrated on the complex parametric motivated basis of flora nomination. It is presented by a number of qualities, firstly, by dominative qualities («form», «appearance and manner of growth», «color»), secondly, by peripheral qualities («odour», «taste», «size») and, finally, by minor qualities («sound», «weight», «genger»). In the structure of complex parametric nomination the only one conerete qualitative element from the whole combination of qualities becomes the leading one. The cultural-archetypal dominant element determines. In each concrete situation, the choice of preferable prototypal motivated quality. Key words: cognitive theory, flora nomination, taxonomic organization, phenomenological level, na i ve-cognitive consciousness, cultural archetype .

Framing Human Rights and the Production of Translation Legal Consciousness

This paper presents a case study on a complaint document filed by the British NGO “Survival International” against the multinational mining conglomerate Vedanta Resources for alleged human rights violations. By examining the internal and external dynamics of the text of the complaint document, this paper seeks to delineate the strategic framing of rights violations by Survival International within the context of international legal discourse. The document operates beyond the contours of international legal formalism. The complaint document functions as a polycentric legal document, as it seeks to bridge the gap between “hard” and “soft” international legal structures through the invocation of multiple discrete norm systems in a unified fashion. Most importantly, by bringing together civil-political and socioeconomic rights into a singular, indivisible human rights narrative frame, the documents serves as an example of the ways which non-state actors utilize the discursive dynamics of the polycentric global norm structures for disciplining corporate social responsibility.

Existentialist Engagement in Wallace, Eggers and Foer: A Philosophical Analysis of Contemporary American Literature by Allard Den Dulk (review)

Reviewed by: Existentialist Engagement in Wallace, Eggers and Foer: A Philosophical Analysis of Contemporary American Literature by Allard Den Dulk Paul Ardoin DULK, ALLARD DEN. Existentialist Engagement in Wallace, Eggers and Foer: A Philosophical Analysis of Contemporary American Literature. New York: Bloomsbury, 2015. 301 pp. $120.00 hardcover. Allard den Dulk’s Existentialist Engagement in Wallace, Eggers and Foer will be of much interest to scholars of the so-called “New Sincerity,” as well as to scholars operating at the increasingly popular intersection of literature and philosophy. (Dulk’s book joins, for example, recent texts like Michael LeMahieu’s Fictions of Fact and Value and Mark Greif’s The Age of the Crisis of Man.) His project is familiar: Dulk seeks to carve out a productive subset of contemporary texts that operate to reshape the apparent chaos of postmodernism into productive action. Fittingly, Dulk turns to David Foster Wallace (largely his voluminous Infinite Jest), where he finds an influential source for younger authors Dave Eggers and Jonathan Safran Foer. Dulk’s particularly useful contribution to this conversation might be in his framework, assembled from numerous works of philosophy: Albert Camus, Jean-Paul Sartre, Søren Kierkegaard, and Ludwig Wittgenstein provide the foundation in Dulk’s argument for a limited and productive use of irony, a language rooted in community, and an existentialist brand of bonding through absurdity. These ideas and strategies, suggest Dulk, can help us to move beyond the useful-to-a-point, destructive work of postmodernism (represented here by philosophers like Jacques Derrida and literary authors of endlessly ironic, “problematic fiction,” like John Barth and Bret Easton Ellis). Dulk’s text begins with an exploration of two key problems he locates in contemporary Western life: “hyperreflexivity” and “endless irony.” Hyperreflexivity, explains Dulk, is related to “the problem of excessive self-consciousness” that “has become exacerbated and more widespread in current times” (28) due, in large part, to the lack of “a clear tradition…that orders and directs all of [our] choices” (29); the shrinking globe (resulting in the “pluralisation of life-worlds” [30]); the panic-inducing disappearance of certainty; the mediating effects of information sources like the Internet; and “the reflexive nature of the contemporary relationship” (34), [End Page 571] endlessly interrogated for the value and “happiness that this relationship itself brings” its individual participants (34). Dulk argues that “endless irony” seems to invariably follow from [this] problem of hyperreflexivity: a person who cannot stop thinking about himself and his possible actions, cannot or can only just barely come to conclusions and actions, let alone conclusions and actions to which he is fully committed.…Constant self-reflection leads to never being able to fully stand behind one’s actions, for one is constantly reconsidering them, and this awareness is expressed through irony: by not taking those actions seriously, not fully claiming them as one’s own. (60) One might be tempted to fit a figure like Dave Eggers into this camp. I recall, for example, a certain drawing of a stapler in A Heartbreaking Work of Staggering Genius labeled “Here is a drawing of a stapler.” Despite such apparently postmodernist strategies, Eggers falls into a camp Dulk calls “engaged fiction” (131) because his work is able “to speak meaningfully” on the topics of “sincerity, reality-commitment, and community” (131). (See also, on the topic of David Foster Wallace’s “revival” of sincerity in the battle against endless irony, Adam Kelly’s recent work in Post 45, “Dialectic of Sincerity.”) The first of these topics, “sincerity,” allows Dulk an opportunity to engage with and usefully complicate the “trend” that “has been labeled by certain critics as ‘new sincerity’” (162). Dulk claims to—and does indeed—“rehabilitate sincerity” convincingly through a Sartrean view of consciousness (which “itself has no substance” [36]) as “a product of consciousness’s relations to the world” and as “aris[ing] through the individual’s choices and actions in the world” (40). The “new sincerity” that Dulk finds in Eggers, Foer, and Wallace, similarly, is an outward facing one, “shaped through choice and action…and through community and dialogue with others” (168). “Choice and action” are elaborated through Kierkegaard “on the gift and task of human...

Narrative, history, and fiction: history games as boundary works

This work arises from the reflections generated by a post-doctoral study that investigates how history games can contribute to the production and dissemination of representations, pictures, and imaginaries of the past. We understand history games to be digital electronic games whose structure contains narratives or simulations of historical elements (Neves, 2010). The term notion of “border works” is used by Glezer and Albieri (2009) to discuss the role of literary and artistic works that, standing outside the historiographical field and having a fictional character, are forms of the dissemination of historical knowledge and approximation with the past. We want to show how, under the impact of the linguistic turn, the boundaries between history and fiction have been blurred. Authors such as White (1995) and Veyne (2008) found both a convergence with and identification between historical narrative and literary narrative that interrogates the epistemological status of history as a science. These critiques result in an appreciation of fictional works as both knowledge and the dissemination of historical knowledge of the past. We then examine the elements of the audiovisual narratives of electronic games (Calleja, 2013; Frasca, 1999; Jull, 2001; Murray, 2003; Zagalo, 2009) in an attempt to understand their specificity. Next, we investigate the place of the narrative and historical simulations of electronic games in contemporary culture (Fogu, 2009). Finally, we discuss how historical knowledge is appropriated and represented by history games (Arruda, 2009; Kusiak, 2002) and analyze their impact on the production of a historical consciousness or an imaginary about the past.

Le dualisme de l’Esprit et de la Nature du Sāṃkhya

Sāṃkhya, which is one of the oldest systems (darśana) of Indian Philosophy, advocates an uncompromising dualism in its theoretical metaphysical teachings. There is a fundamental dualism or split at the very heart of reality, and this dualism or split is the fundamental fact of existence.According to Sāṃkhya, there are two co‑present and co‑eternal realities. The first one is the principle of pure Consciousness, the Puruṣa, which is inactive, indifferent, eternally free and Alone. Puruṣa is the soul, the self, the spirit, the subject, the knower. The other of the two co‑present and co‑eternal realities of Sāṃkhya is Nature or Prakṛti : it is the primordial and unconscious “stuff ” of the entire unmanifest and manifest world, whereas Puruṣa is the presupposition of individual consciousness. Nature or Prakṛti is the ultimate material principle and thus the substratum from which manifest, in the presence of the self (puruṣa), the gross and subtle bodies including the mental organs of all living beings. But Sāṃkhya is not a dualism of mind and body or even a dualism of subject and object.In classical Sāṃkhya the world is not derived from consciousness, nor is consciousness derived from the world. The classical Sāṃkhya refuses to understand the world simply as a product of consciousness. It refuses to see the world as an illusory projection of consciousness, and thus it rejects any idealistic monism. Similarly, it refuses to see consciousness simply as a product of the world, and thus it rejects any kind of materialism or naturalism. Thus, it steers an intermediate course or path between the Indian notion of a conscious, cosmic Self or its equivalent, which is the ground of all being, on the one hand, and the notion of a conscious self, which is only an empirical, relative construction, on the other. It maintains, rather, a fundamental dualism, the opposite poles of which function in a kind of dialectical interaction. The fact of consciousness and the fact of the world are two irreductible realities in constant interplay with one another. Though quite separate and unconnected, Spirit and Nature mutually interact to bring about the process of creation, self‑awareness and, finally, enlightenment. But Spirit or Puruṣa and Nature or Prakṛti are always only in proximity to one another, never in actual contact. This is a puzzling notion if one thinks of Puruṣa and Prakṛti as two things. Puruṣa and Prakṛti are two realities of a completely different order.Right knowledge is the knowledge of the separation of the Puruṣa from the Prakṛti. The individual soul (jīva) has to realize itself as the pure Puruṣa through discrimination between Puruṣa and Prakṛti.From a rational point of view, classical Sāṃkhya can be regarded as a bundle of contradictions. Some problems regarding its interpretation are the problem of the nature of the Sāṃkhya dualism and the problem of the connection or relationship of Puruṣa and Prakṛti. The Sāṃkhya system clings to spiritualistic pluralism and dualistic realism, but its very logic indeed impels it to embrace idealistic monism or absolutism.

The Aesthetic Characteristics of In-Yer-Face Theatre

In the late 20th Century filled with fin-de-siecle mood, the new theatre centered around the UK has emerged. It was coined In-Yer-Face Theatre which breaks with conventional theatrical codes to confront the vulgar and the shocking. Up to the present, researches on art have generally been carried out through sociology, psychology and the history of art. Especially, the research on the social and cultural relations between the artists and their art works and the interrelation between the art works and other systems focuses on sociological approach. Therefore, the results are concentrated on the social meaning and significance of the new art form. However, it is a different matter that a work has the social and political implication and has the artistic value. Thus, this research will examine the characteristics of In-Yer-Face Theatre through the aesthetic categories. In-Yer-Face Theatre is in accord with as a main aesthetic subject. As the properties of ugliness, unsuitability, imperfection, and flaw are revealed through characters dialogues and behaviors on stage. In addition, unpleasure, another characteristic of ugliness, appears in the reaction of the audience to real violences and sexual behaviors during the performance. Furthermore, disorder which is the most important attribution of ugliness is related to the formal characteristic of in-yer-face theatre: its dramaturgy which rejects the well-made-play. As a result, the playwrights of in-yer-face theatre use intentionally ugliness as a new tool in order to reveal and criticize the ugliness in real world. They insult the reality which dehumanizes people, human beings which have not changed in the situation, and such circumstances by using unmentionable and frank expressions. That is, in-yer-face theatre is the product of strong consciousness leading to a change.

Reframing Ethnicity: Academic Tropes, Recognition beyond Politics, and Ritualized Action between Nepal and India

ABSTRACTDrawing on ethnographic fieldwork across the Himalayan borders of Nepal and India, I revisit disciplinary debates about ethnicity. I focus on the expressive production of ethnic consciousness among members of the Thangmi (Thami) community in a context of high cross‐border mobility. I argue that ethnicity is the result not only of the prerogatives of state control or market forces but also of a ritual process through which identity itself is produced as a sacred object that binds together diverse members of the collectivity. Thangmi participation in a range of ritualized actions demonstrates how mobility across national borders yields a high level of self‐consciousness about the efficacy of each form of action as well as of the frames within which action unfolds. Ethnicity may be understood simultaneously as a historically contingent process and a wellspring of affectively real cultural content, enabling us to make better sense—in both scholarly and political terms—of emergent ethnic claims in South Asia and beyond.

Identity Politics Is Not Enough: Why the Left Needs Universalism to Survive

Identity Politics Is Not Enough: Why the Left Needs Universalism to Survive

Ulysses trans. by Glenn Anderson Manga Classic Readers (review)

Reviewed by: Ulysses trans. by Glenn Anderson Manga Classic Readers Andrew Ferguson (bio) ULYSSES, by Variety Art Works, translated by Glenn Anderson. Manga Classic Readers. Tokyo: East Press, 2009; Long Island City, N.Y.: One Peace Books, 2012. iv + 380 pp. $9.95. In April 2009, Robert Berry began posting pages from his word-for-word graphic adaptation of “Telemachus,” the first installation of what would become “Ulysses” Seen, subsequently licensed by the James Joyce Centre and since featured in a number of Joycean outlets.1 Berry’s work is a virtuoso rendering of Joyce’s novel, informed by and indebted to the research of hundreds of others, yet unmistakably the product of a single aesthetic consciousness. But his was not the only Ulysses comic to debut that year or even that month—and the other, a manga Ulysses, demonstrates a vastly different approach to the process of adaptation: collaborative, transnational, and unpredictable. The Japanese publisher East Press released Ulysses as part of its Manga de Dokuha (“Reading through Manga”) series, which adapts works of classical and modern literature to the manga format, with the graphics handled by the Variety Art Works studio collective. The series began in 2007 with Tōson Shimazaki’s 1906 naturalist classic The Broken Commandment,2 before moving on to works by other canonical Japanese authors as well as writing by Fyodor Dostoyevsky and Leo Tolstoy, and eventually texts by a host of European authors from Dante Alighieri to Johann Wolfgang von Goethe to Marcel Proust. Some of these—including Moby-Dick, The War of the Worlds, and The Great Gatsby3—were translated back into English or reverted to the original text. (Perhaps for this reason, the Ulysses volumes were printed in Canada, thus avoiding any potential copyright entanglement.) Unlike the infinite canvas of Berry’s long-term adaptation project, the artists behind the Ulysses manga had to meet the constraint of fitting everything into a single volume: 376 pages of text and images in all (and, to the frustration of this reviewer, unnumbered). Many aspects of the book are necessarily sacrificed to the imperative of compression, including almost everything in the way of Homeric correspondence. True, the manga provides the provisional (though never official) “name” of each episode, but beyond the incongruous reproductions of nineteenth-century paintings placed before each of the three major sections, there are few other nods toward the Odyssey—or, for that matter, much else in the Stuart Gilbert or Carlo Linati schemas: no colors (since the book is grayscale), no organs, few sciences, and little verbal technique.4 For experienced readers of the book, this last will likely prove most striking; for instance, the twelve tightly packed pages of Stephen’s “Proteus” soliloquy become nine pages of paraphrase, linked through [End Page 221] flashbacks, associative thought-bubbles, and drawings of the Irish Sea shore that emphasize its beauty without dwelling on it as a source of corpses and ruin. Much else of what Karen Lawrence terms Joyce’s “odyssey of style” goes by the boards:5 the headlines in “Aeolus” are subdued; the incidents in “Wandering Rocks” are stripped to a bare minimum (Blazes Boylan in the flower shop, Stephen meeting Dilly Dedalus, Bloom buying Sweets of Sin); the apocalyptic visions in “Cyclops” are cut entirely; and there is no attempt to recapitulate anything in “Oxen of the Sun.” What is left is an executive summary provided by Stephen, at the end of “Ithaca,” as he gains inspiration for a novel where “everything … will correspond with a myth” (368). The Ulysses manga, however, does provide an odyssey of sorts in its play with genre. The pervasiveness of the manga format in Japan means that there are volumes available for almost any perceived audience, on almost any subject, and in almost any genre, each with its own set of conventions and visual grammar—from which the artists borrow freely while adapting the episodes. This is evident from the first pages of “Telemachus,” where Buck Mulligan is drawn as a character in the shonen manga, or “boys’ comics,” mold—radiant and gorgeous, if not exactly plump or stately. While shonen comics focus on friendship among young men, Stephen Dedalus appears...

De-Mythologisation - path towards the Hidden Truth in Albanian Modern Drama

When we look at the modern drama Albanian in developed in Kosovo and its most significant works that have used the Illyrian-Albanian mythological heritage, the Bible, the biblical -- cannon and other mythological constructs, that derives mainly from the Albanian folklore, or today’s believes etc., it can easily be noted that apart from its aspect of having it used as a subject or "a story", or as a way of believing, or as a collective psychosis, it (the drama) has also used in a rational way the myths, which are products of the collective social consciousness, thus are part of the mythological mechanism of today's society. DOI: 10.5901/ajis.2013.v2n2p509

Os desvios da questão ontológica

This text is a critical examination of the ontology as linguistic analysis and semantic description. From the examples of Nietzsche and Frege, it is proposed that the ontology should be viewed as a categorical account of what, although not a language construct and not a product of consciousness, ensures the practices and human expressions.

Psychoanalysis and the Question of Violence: From Masochism to Shame

trauma of violence is arguably one of the most crucial questions facing the discipline at this historical moment. This essay will contend that the critical task of historicizing our ideas about violence holds a key to future theory and therapy. Offering a sustained historical emphasis, this essay reveals the extent to which the ideas that we—as citizens and therapists—hold about suffering and violence inflect the culture in which we live, and vice versa. by tracing the historical genealogies of two focal concepts—masochism and shame—and by examining how they play out culturally, psychoanalysis puts itself in an optimal position to rethink the relation of these culturally significant concepts to the problem of cruelty and violence. an approach to violence is here framed within an approach to masochism, precisely because, as we will see, the latter supplanted the former within a historical and cultural context of american shame in the postwar period, a shame tied to the mediated experience of the Holocaust. The historical account presented here builds to a discussion of the remedies, at once psychotherapeutic and social, required for healing in the aftermath of violence and violation. 1 This essay begins the project of examining the production of moral and social consciousness in the american postwar period with special attention to the two decades following the Second World War, a period in which the threshold of shame declined enough to allow the formation of two predominant modes of its expression and analysis, both of which share an interest in reading culture’s stake in internalizing and libidinalizing shame. These modes, coming from complementary, if competing, angles are (1) analytic theory—especially combat psychiatry from the Second World War—as it developed to

The Casteized Consciousness: Literary Realism and the Politics of Particularism

A product of the last two decades, Dalit (“untouchable caste”) literature in Hindi has fashioned itself as a modern protest literature, drawing on the cultural and political traditions of other Indian languages and literatures. But Hindi Dalit literature is unique in that its fictional movement against casteism, atrocity, and historical elision has effectively embraced the ideologies of realism while developing a strident critique of modernist aesthetics. This essay deconstructs that realist turn by tracing it through the question of caste. Gajarawala reads the present embrace of an aesthetics and politics of realism via the seminal text on caste, Mulk Raj Anand’s Untouchable (1935), which sets a literary precedent for the representation of untouchability. In it modernist form allows for a particular reading of untouchability; through the abstractions of both Marxism and metaphor, untouchability becomes a universalized condition of subjection, and the goal is the production of political consciousness. Contemporary Hindi Dalit texts, however, deny the very category of the universal and insist on consciousness as a given; they do so by relying on the metonymic modes of the realist. Thus realism offers a putative solution to the problem of casteist assertion in the cultural sphere.

Brain Current Interface: Intentional metaphor for interaction design

Enhancing the usability of the brain, as a more intriguing alloy for interaction design, by employing the Brain Current Interface model (BCIm). Instead of studying interaction design through the angle of cognitive semiotics, where signs and signifiers produce meaning, I propose, in this case, to approach the paradigm of interaction design from a metaphorical angle, as a product of perceptual and intentional consciousness. Through this disposition, I argue, it is possible to approach the hypothesis of bringing together the use of non-invasive brain computer interfaces (BCI) and the field of contemporary neuroscience, especially the role of the chemical modulation on a cellular level of the brain while learning, in order to propose a model for interaction via deliberate attention, that influences cognitive performance and advances well-being of individuals of any age.That which was previously mentally projected, which was lived as a metaphor in the terrestrial habitat is from now on projected entirely without metaphor …