Suchergebnisse

Intro -- Preface -- Contents -- Chapter 1: Introduction -- References -- Chapter 2: The Philosophy of Technology Tradition -- 2.1 The Historical Background -- 2.2 Phenomenology and Transcendental Philosophy of Technology -- 2.2.1 Phenomenology and Lifeworld -- 2.2.2 Existential Phenomenology -- 2.2.3 Hermeneutic Phenomenology -- 2.2.4 Authoritarian Technology -- 2.2.5 Autonomous Technology -- 2.2.6 Technological Power -- 2.3 Postphenomenology and Empirical Philosophy of Technology -- 2.3.1 Empirical Science and Technology Studies -- 2.3.2 STS and Actor-Network Theory -- 2.3.3 Constructivism and Amodernism -- 2.3.4 Postphenomenology -- 2.4 Summary -- References -- Chapter 3: Derrida and the Phenomenology of Technology -- 3.1 Introduction -- 3.2 Derrida's Engagement with the Question of Technology -- 3.3 Husserl and the Technological Origin of Geometry -- 3.4 Husserl and Writing as Telecommunication -- 3.5 Technology as a Relation -- 3.6 Heidegger and the Question of Technology -- 3.7 Summary -- References -- Chapter 4: Technology and Time as Event -- 4.1 Introduction -- 4.2 The So-Called Vulgar Concept of Time -- 4.3 Heidegger's Time -- 4.4 Derrida's Deconstruction of Time -- 4.5 The Artifactual Production of the Event -- 4.6 Technology Puts Time out of Joint -- 4.7 Stiegler Versus Derrida: Technological or Messianic Time? -- 4.8 Summary -- References -- Chapter 5: Humanity's Technicity -- 5.1 Introduction -- 5.2 Technology's Inscription in Life -- 5.3 Scriptual Subjectivity -- 5.4 Summary -- References -- Chapter 6: Ethics and Technology -- 6.1 Introduction -- 6.2 The Electronic Revolution -- 6.3 Total Nuclear War -- 6.4 Global Terrorism -- 6.5 Summary -- References -- Chapter 7: Politics and Technology -- 7.1 Introduction -- 7.2 Derrida on Politics -- 7.3 The Transforming of Democracy, Politics, and Citizenship by Technology.

Edited by three well known academics and contributed to by J. Smithin, L. Moss and G. C. Harcourt, this text reflects the breath of the honouree's interests, covering political economy, labour economics, history of economic thought and macroeconomics.<

En el imaginario chileno Ingrid Olderock se construye como un monstruo ligado al poder dentro de la institución de Carabineros y luego a los organismos de la represión de la dictadura de Pinochet. Olderock representa un extremo emblemático donde se imbrican distintos discursos sobre la violencia y la locura y que la figura de la camiona condensa en tanto personaje abyecto. Lo horroroso no vincula solo con la mujer sino con la sexualidad no normativa de la despiadada torturadora. Olderock aparece en la obra teatral La mujer de los perros (2017) de Eduardo Vega donde la locura, la falta de feminidad, y el deseo de dominar y hacer sufrir son su marca. El cuerpo femenino abyecto se asocia significativamente a su brutalidad despiadada y a la ausencia de justicia. Por otra parte, en la obra de teatro de Irán 3730 (2019) de Patricia Artés, Olderock no aparece en escena a pesar de ser la encargada principal de la casa de tortura La Venda Sexy en cuyo inmueble se desarrolla la acción dramática del presente. Estas dos miradas frente al pasado y de Olderock se sustentan en visiones distintas sobre el legado dictatorial. La de Artés tiene una perspectiva de género que permite una mayor comprensión de la historia y el rol de las mujeres militantes en el pasado. Su impacto en el presente, desplaza a la torturadora, y realza el activismo feminista y la lucha política de las ex militantes por el reconocimiento y la justicia. ; In the Chilean imaginary Ingrid Olderock is constructed as a monster associated with the power of the institution of Carabineros and later with the agencies of repression in the Pinochet dictatorship. Olderock represents an emblematic extreme where different discourses on violence and insanity overlap and that the butch figure condenses as an abject character. Horror is linked not only to gender but to the non-normative sexuality of the cruel torturer. Olderock appears in the play La mujer de los perros (2017) by Eduardo Vega which underscores her insanity, lack of femininity, and a desire to dominate and inflict pain are her signature. The abject female body is here significantly associated with a heartless brutality and the absence of justice. On the other hand, the play Irán 3730 (2019) by Patricia Artés, Olderock is not seen even though she was in charge of the torture house La Venda Sexy in the property where the dramatic action unfolds in the present. These two takes towards the past and Olderock sustain themselves in different visions of the legacy of the dictatorship. Artés has a gender perspective that allows for a broader understanding of history and the role of women activists in the past. Their impact in the present displaces the torturer and highlights feminist activism and the political struggle of former militants for their recognition and for justice.

Der Band befasst sich mit unterschiedlichen Facetten der Bildungs-, Ungleichheits- und Biografieforschung. Die Autor*innen behandeln die Themen Ausgrenzung, Teilhabe, gruppenbezogene Diskriminierung, aber auch Forschungsethik und empirische Zugänge rund um soziale Ungleichheit. Die Beiträge sollen so die Themenschwerpunkte der Erziehungswissenschaftlerin Ingrid Miethe abbilden, deren Schriften auch für die Soziale Arbeit als prägend gelten.