Suchergebnisse

Abstract
In this text, the script of a performance/lecture, which combines live puppetry, digital film, and a lecture, is paired with a prefatory essay that seeks to address the theoretical questions raised by the play about embodiment, mind, AI, and the staging of consciousness. The play was performed at the Centre for the Less Good Idea, an arts laboratory, in Maboneng, Johannesburg, South Africa, in October 2018. In the play, two characters stand in as the early pioneers of primate research, Wolfgang Köhler (an early Gestalt psychologist) and Jane Goodall, whose observational fieldwork shifted primate studies profoundly. These two distinctive intellects advanced the commitment of the human species to work toward the preservation of, and engagement with, higher primates and in such ways altered our apprehension of the limits of the human through a challenge posed by our closest nonhuman kin. The play also explores the research of Norbert Wiener, the pioneer of the field of cybernetics (a term that he invented). Wiener inaugurated the massive proliferation of research into "feedback" theory, which he saw as fundamental to mechanic intelligence. In such terms, Wiener too was thinking about the limits of the human. The play introduces some discussion of artistic responses to these fields of inquiry through exploring the writings of Samuel Beckett and J. M. Coetzee. The play also addresses ethical questions about the uses of research. Both Wiener and Köhler used their work on the humanities in order to address our obligation to the human. At the same time, the play addresses our relations to those who, for reasons of ideology, "fall" outside of our definitions of the fully human. Much of the persuasive power of the work arises from the uncanny performances and in particular the staging of a life-sized wooden chimpanzee puppet. In this sense, the work makes an argument about meaning as embodied.

This paper looks at some literary representations of the 'pan-pan girls' in postwar Japan. 'Pan-pan' is a derogatory term for street prostitutes who (mostly) served the soldiers of the occupying forces. Immediately after World War II, the Japanese government established the RAA (Recreation Amusement Association) and employed several thousand women to provide sexual services for foreign soldiers, ostensibly to protect Japanese women of middle and upper classes from rape and other violence. When the RAA was closed down in 1946 due to the US concern over widespread VD, many of the women who lost their jobs went out on the street and became private and illegal prostitutes – the pan-pan girls. With their red lipstick, cigarettes, nylon stockings and high-heel shoes, often holding onto the arms of tall, uniformed American GIs, the 'pan-pan girls' became a symbol of the occupation, and have been textually reproduced throughout the postwar period. This paper analyses the images and representations of the 'pan-pan girls' in postwar Japanese literature, to consider how the 'pan-pan girls' have functioned as a metaphor for the occupation and contributed to the public memory construction of the occupation. I identify some major codes of representations (victimisation, humiliation, and national trauma; eroticism and decadence; sexual freedom and materialism) and argue that the highly gendered and sexualised bodies of the 'pan-pan girls' have continued to allow simplistic and selective remembering of the occupation at the expense of recalling the pivotal role of Japanese patriarchy in the postwar period.

Intro -- Contents -- Introduction -- Chapter 1. Afropublican Commons: Conceptual Groundings -- Chapter 2. Representations of the Father of Pan-Africanism -- Chapter 3. The Afro-Positivist Foundations of Pan-Africanism: Plantation Intellectuals and Africa's Atlantic Scholars -- Chapter 4. Edward Blyden's Ethnoscapes: Igbo, Afro-Danish, and Jewish -- Chapter 5. Edward Wilmot Blyden and the "Africanization of Islam" in West Africa -- Chapter 6. Dr. Edward Blyden, They Know Your Name: Blyden and West African Ethiopianism -- Epilogue -- Acknowledgments -- Notes -- Bibliography -- Index.

Al-Azhar er en central del af den autoritære egyptiske stats magtapparat, og universitetets betydning er vokset de senere årtier. I de nye mediers tidsalder er det dog mere al-Azhars navn end shaykhernes gavn, som regimet efterspørger. Og den TVstation, som er opkaldt efter al-Azhar, har vist sig en hel del bedre til at gebærde sig i det stadigt mere liberale TV-landskab end al-Azhar selv. Ikke mindst i de vanskelige dage i februar 2011.

Roger D. Speed : Strategic Deterrence in the 1980's. Hoover Institution Press, Stanford, California, 1979, 174 p., $7.95. Karl Brunner, Ed.: The First World and the Third World: Essays on the New International Economic Order. University of Rochester, New York, 1978, 270p., $9.95.

This paper looks at some literary representations of the 'pan-pan girls' in postwar Japan. 'Pan-pan' is a derogatory term for street prostitutes who (mostly) served the soldiers of the occupying forces. Immediately after World War II, the Japanese government established the RAA (Recreation Amusement Association) and employed several thousand women to provide sexual services for foreign soldiers, ostensibly to protect Japanese women of middle and upper classes from rape and other violence. When the RAA was closed down in 1946 due to the US concern over widespread VD, many of the women who lost their jobs went out on the street and became private and illegal prostitutes – the pan-pan girls. With their red lipstick, cigarettes, nylon stockings and high-heel shoes, often holding onto the arms of tall, uniformed American GIs, the 'pan-pan girls' became a symbol of the occupation, and have been textually reproduced throughout the postwar period. This paper analyses the images and representations of the 'pan-pan girls' in postwar Japanese literature, to consider how the 'pan-pan girls' have functioned as a metaphor for the occupation and contributed to the public memory construction of the occupation. I identify some major codes of representations (victimisation, humiliation, and national trauma; eroticism and decadence; sexual freedom and materialism) and argue that the highly gendered and sexualised bodies of the 'pan-pan girls' have continued to allow simplistic and selective remembering of the occupation at the expense of recalling the pivotal role of Japanese patriarchy in the postwar period.