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The analysis of subject-subject relations, the identification and characterization of which this article is devoted to, is of great importance for the further development of theoretical and methodological aspects of book culture, its complete and in-depth study in various historical periods, identification of trends, scale, drivers and conditions for its development, disclosure and strengthening of its communicative nature. The article aims to formulate the main theoretical aspects of the manifestations of subjectivity and subject-subject relations in book culture with an emphasis on the historical and regional context. There is presented book culture as an extensive system of interacting subjects of book publishing, book distribution and reading, which have books as the main object. In the context of book culture, the article, for the first time, gives working definitions of the terms "subject" and "subject-subject relations". The author names the universal properties of subjects, which are activity, dedication, initiative, responsibility, ability and readiness to transform the world and oneself. There are specified the subjects, the most significant and widespread subject-subject relations that are generated in book culture and form its fundamental ties, including those that were characteristic of the Russian Empire. The article presents the most active subjects of the book culture of Siberia and the Far East in the pre-revolutionary period, both individual and collective. The author indicates the dependence of tasks, pace, directions, scale, results of the development of book culture on its subjects.

"This book brings together over 25 years of Arindam Chakrabarti's original research in East-West 'fusion' philosophy on issues of epistemology, metaphysics, and philosophy of mind. Organized under the three basic concepts of a thing out there in the world, the self who perceives it, and other subjects or selves, his work revolves around a set of realism links. Examining connections between metaphysical stances toward the world, selves, and universals, Chakrabarti engages with classical Indian and modern Western philosophical approaches to a number of live topics including the refutation of idealism; the question of the definability of truth, and the possibility of truths existing unknown to anyone; the existence of non-conceptual perception; and our knowledge of other minds. He additionally makes forays into fundamental questions regarding death, darkness, absence, and nothingness. Together with conceptual clarification and progress towards alternative solutions to these substantial philosophical problems, Chakrabarti demonstrates the advantage of doing philosophy in a cosmopolitan fashion. Beginning with an analysis of the concept of a thing, and ending with an analysis of the concept of nothing, Realisms Interlinked offers a preview of a future metaphysics, epistemology, and philosophy of mind without borders"--

A reflection on the ever-broadening debates between the proponents of universalism & particularism focuses on the emerging ambivalence in the central categories & the political implications of these discourses in interaction. Under the banner of democratic multicultural pluralism, the intervention of alternative postmodernist approaches into conventional Western imperialist foundationalism, traceable to the primacy of universalist values for the Enlightenment, is reflexively aware of the ultimately nihilist futility implied in a politics of pure difference. After sketching critiques of structural essentialism & foundationalism, & contributions to the debate by thinkers such as Thomas Hobbes, Plato, & G. W. F. Hegel, it is argued that the continual adjustment toward openness by the particular represents its only possible avenue to complete realization confronted with the universal. 23 References. J. Sadler

This wide ranging and challenging book explores the relationship between subjectivity and mortality as it is understood by a number of twentieth-century French philosophers including Sartre, Lacan, Levinas and Derrida. Making intricate and sometimes unexpected connections, Christina Howells draws together the work of prominent thinkers from the fields of phenomenology and existentialism, religious thought, psychoanalysis, and deconstruction, focussing in particular on the relations between body and soul, love and death, desire and passion. From Aristotle through to contemporary analytic philosophy and neuroscience the relationship between mind and body (psyche and soma, consciousness and brain) has been persistently recalcitrant to analysis, and emotion (or passion) is the locus where the explanatory gap is most keenly identified. This problematic forms the broad backdrop to the work's primary focus on contemporary French philosophy and its attempts to understand the intimate relationship between subjectivity and mortality, in the light not only of the 'death' of the classical subject but also of the very real frailty of the subject as it lives on, finite, desiring, embodied, open to alterity and always incomplete. Ultimately Howells identifies this vulnerability and finitude as the paradoxical strength of the mortal subject and as what permits its transcendence. Subtle, beautifully written, and cogently argued, this book will be invaluable for students and scholars interested in contemporary theories of subjectivity, as well as for readers intrigued by the perennial connections between love and death.

A vigilant subject foregrounds the terrorist event, working immanently to its development and disrupting its realisation. Individuals are tasked with spotting the antecedents of future attacks in the present so as to ward off catastrophe and with being mindful of processes of radicalisation so as to counsel against extremism. A vigilant subject monitors others – as much as himself or herself – according to proscribed conduct, while at the same time he or she co-evolves with uncertainty in order to prevent emergent threats: be they those yet to materialise (signs of an attack) or yet to be even thought of (signs of radicalisation). This vigilant subject is explored through two cases: the British Transport Police campaign to make commuters aware of, and report, terror-related activity and the Prevent duty that asks university staff to limit students being drawn into terrorism.

Privileging the disclosure of a homosexual identity, or "coming out," blinds researchers to negotiations of the closet that do not resort to the confession. Drawing from Spanish grammar and from ethnographic research among Dominican immigrant homosexual men living in New York City, this article proposes the concept of tacit subjects to suggest that gay men and those close to them may be complicit in relegating information about a person's sexuality to the realm of what is tacit and/or understood. By stressing the structural and relational variables that people negotiate as they sustain their family and other kin networks, the concept of tacit subjects underlines the collaborative nature of identity negotiation and the forms of knowledge that make social collectivities viable.

The focus of my inquiry in this article is the figure of the Human that is enacted in the design of the humanoid robot. The humanoid or anthropomorphic robot is a model (in)organism, engineered in the roboticist's laboratory in ways that both align with and diverge from the model organisms of biology. Like other model organisms, the laboratory robot's life is inextricably infused with its inherited materialities and with the ongoing — or truncated — labours of its affiliated humans. But while animal models are rendered progressively more standardised and replicable as tools for the biological sciences, the humanoid robot is individuated and naturalised. Three stagings of human— robot encounters (with the robots Mertz, Kismet and Robota respectively) demonstrate different possibilities for conceptualising these subject objects, for the claims about humanness that they corporealise, and for the kinds of witnessing that they presuppose.

Es zeichnet sich seit den 1990er-Jahren die Tendenz ab, dass sich viele Künstler/innen verstärkt mit Subjekten statt mit Objekten beschäftigen. Hinzu kommt eine zunehmende "Kollektivierung und Theatralisierung der einst auf Singularität und Präsenz setzenden Performance". In diesem Zusammenhang sind auch immer mehr künstlerische Arbeiten zu registrieren, die mit Prozessionen und Paraden eine Vielzahl von Menschen auf die Straße bringen und in Bewegung versetzen. Dies spiegelt sich auch in einer immer größer werdenden Zahl thematischer Ausstellungen wider, die sich diesen Arbeiten widmen. Bereits 2004 konstatierte Pablo Lafuente in seinem Essay "Art on Parade" in Art Monthly: "That ability of the parade to create subjectivity is where the artist's political aspiration lies." Die künstlerisch-ästhetischen Praktiken von Francis Alÿs, Matthew Barney, Mierle Laderman Ukeles und Jeremy Deller, die Gegenstand der vorliegenden Untersuchung sind, könnten unterschiedlicher nicht sein. Ihre Gemeinsamkeit liegt in der performativen Verwendung eines sehr alten traditionellen Handlungsmusters, das den meisten Menschen vertraut ist. Die Prozession ist eine ritualisierte Handlung, die in unseren Breiten zuallererst mit der christlichen beziehungsweise der katholischen Liturgie in Zusammenhang gebracht wird. Die Grundbedeutung des Begriffs (von lat. processio = Zug, Geleit) als ein zielgerichtetes, geordnetes, gemeinsames Gehen, das den Raum gliedert und ihm dabei Bedeutung verleiht, umfasst jedoch den kultischen ebenso wie den profanen Umzug. So begegnen uns Prozessionen in vielen Bereichen des kulturellen Lebens. Dementsprechend beschäftigt sich diese Dissertation mit Prozessionen, Paraden und Karnevalsumzügen, deren Grundmotiv das gemeinsame, öffentliche, oftmals um einen Gegenstand herum organisierte Gehen, also die Prozession in ihrem allgemeinen Sinne ist. ; Ever since the 90s, the tendency of many artists increasingly dealing with subjects instead of objects has become apparent. In this context, more and more artistic works that take a multitude of people to the streets or set them in motion as part of a procession or parade can be registered. This is also reflected in a growing number of themed exhibitions exploring these works. The artistic-aesthetic practice of Francis Alÿs, Matthew Barney, Mierle Laderman Ukeles and Jeremy Deller could hardly be more different. Their common ground can be found in the performative use of a very old traditional pattern of action that most people are familiar with. The procession is a ritualised act, which - in this part of the world – is first and foremost implicated in Christian respectively Catholic liturgy. The basic meaning of this term (derived from Latin processio – progression/cortege) as a purposeful, orderly, collective walk structuring and thus giving meaning to a certain space comprises, however, the sacral as well as the profane procession. This is way we can encounter processions in many parts of cultural life (and in almost every culture). This dissertation accordingly explores processions, (carnival) parades and demonstrations which all share the basic motif of a collective, public organised walk, often around an object, i.e. a procession in its general sense.