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Intro -- Foreword -- Acknowledgements -- Overview of Book -- Contents -- About the Author -- List of Figures -- List of Tab les -- Chapter 1 Introducing Poetic Inquiry -- Abstract -- My Footsteps into Poetic Inquiry -- Overview of Chapters -- References -- Chapter 2 Shaping Poetic Inquiry -- Abstract -- Introduction -- Meaningful Approaches -- Phenomenologically Inspired Poetic Inquiry -- Performativity -- References -- Chapter 3 Poetry as Data -- Abstract -- Poetry as Data -- Collaborative Autoethnography Poetry -- Ethical Considerations -- AutoEthno Poetry -- References -- Chapter 4 Turning Data into Poetry -- Abstract -- Poetic Analysis Procedure -- Unexpected and Unanticipated Turns -- Fighting Pain -- Clusters of Chronic Illness -- Cluster of Injured Males -- Multi-voice Poetry -- References -- Chapter 5 Poetry as Literature Review -- Abstract -- Politicising Poetry -- References -- Chapter 6 Poetry as Reflective Writing -- Abstract -- Reflexivity -- Poetry as Therapy -- How to Write Reflectively -- Writing from the Body -- Writing with Emotion -- References -- Chapter 7 Judging Poetic Inquiry -- Abstract -- Characterising 'Artful Science' -- Backlashes -- References -- Chapter 8 Future Possibilities of Poetic Inquiry -- Abstract -- Blending Poetry with Visual Images -- Poetry and Drawing -- Poetry and Photography -- Blending Poetry with Video -- Poetry with Collage Inquiry -- The Poetic Effect -- Slow Movement -- References -- Bibliography -- Index.

This chapter follows the development of dance criticism from its historically significant role in establishing the very terrain of 20th century theatre dance, to the current crisis in arts reviewing more generally. The important work of John Martin and others of the first wave critics helped define a new art form. A female wave of critics, beginning with Jill Johnston in the 1960s, set the path towards the current productive crisis that begs for ever new ways of responding publically to the arts. The critique of judgment implicit in the female writers' reviews connected the field back to the poetic writing of Stéphane Mallarme, Paul Valéry and André Levinson in response to the first wave of the 20th century dance avant-garde. This poetic lineage in dance criticism highlights the progressive demands that the art form makes on its critics, a situation that has placed dance criticism at the forefront of developments in the digital era where connoisseurship tussles with the democratic field of blogging, and visuality dominates over textuality.

El sociólogo francés Philippe Corcuff parte de la hipótesis de que el pensamiento contemporáneo viene experimentando una escisión de la crítica social respecto de la emancipación. Ante esto y con el objetivo de inspirar la "imaginación sociológica", propone entablar diálogos transfronterizos entre filosofía, sociología y culturas ordinarias. A partir de la metodología de los "juegos de lenguaje" se embarca en el análisis del género negro americano caracterizado por una visión crítica, pesimista y melancólica del mundo. Poniendo en funcionamiento algunas de estas herramientas teóricas y metodológicas desarrolladas por Philippe Corcuff, en este trabajo propongo el análisis de uno de los relatos de la película nacional más taquillera de todos los tiempos: el film de comedia negra "Relatos Salvajes" con el fin de que este análisis permita hacer brotar destellos de inteligibilidad que puedan extenderse a cuestiones de actualidad social y política. El relato sobre Bombita es sumamente jugoso. Se trata de un hombre común y corriente con un trabajo y una familia que se ve entrampado por los poderes operantes en la sociedad dejándolo en la más absoluta soledad. Ante esto, el protagonista diseña una salida. En su registro propio y a partir del ejercicio de diálogos transfronterizos, esta salida nos dona una crítica potente a los procesos de individualización del capitalismo contemporáneo. ; The French sociologist Philippe Corcuff starts from the hypothesis that contemporary thought is experiencing a separation between social criticism and emancipation. Given this and with the aim of inspiring the "sociological imagination", he proposes to establish cross-border dialogues between philosophy, sociology and ordinary cultures. From the methodology of the "language games" he embarks on the analysis of the American black genre characterized by a critical, pessimistic and melancholic vision of the world. Using some of the theoretical and methodological tools developed by Philippe Corcuff, in this work I propose to analyze one of the stories of the most successful national film of all time: the black comedy film "Relatos Salvajes" in order that this analysis allows to spark flashes of intelligibility that can be extended to issues of social and political actuality. The story about Bombita is extremely juicy. He is a common man with a job and a family that is trapped by the operating powers in society leaving him in the most absolute solitude. Against these, the protagonist designs an exit. In its own register and from the exercise of cross-border dialogues, this output gives us a powerful critique of the processes of individualization of contemporary capitalism. ; Fil: Russo, Fiorella. Universidad Nacional de Cuyo. Facultad de Filosofía y Letras. Instituto Multidisciplinario de Estudios Sociales Contemporáneos

The paper discusses Paul Tillich's changing conception of a "prophetic critique" of contemporary culture and society through the notion of a "kairos", the moment of fullfilled time. It shows how Tillich refers both to a specific notion of prophecy (developed in Max Weber's reflections on charisma) and to a concept of eschatological time (developed in Karl Barth's dialectical theology). In different texts from the 1920ies and the 1950ies, Tillich uses the idea of "kairos" for a critique of the "idols" of bourgeois culture that is both radical and urgent. However, read in their historic sequence, these texts also reveal the difficulty of upholding the urgency of such a critique over time – as a result, Tillich's notion of "kairos" becomes more and more reflexive and self critical as the possibility of prophetic critique is concerned. ; Peer Reviewed

Cover -- Half Title -- Title -- Copyright -- Dedication -- Contents -- Acknowledgments -- 1 Introduction: Film as Social Philosophy -- Part One: Film, Technology, and Built Space -- 2 Enemies of the State? Electronic Surveillance and the Neutrality of Technology -- 3 Wim Wenders's Everyday Aesthetics -- 4 Boyz in the Woods: Los Angeles as Urban Wilderness -- Part Two: Film, Group Interests, and Political Identity -- 5 John Sayles on Class Interest -- 6 Spike Lee, Chico Mendes, and the Representation of Political Identity -- Notes -- Index

Research on conflict and peace is perhaps the most crucial topic of policy science today. Yet is there not some wishful thinking in the assumptions of many studies of the subject? Dr. Oppenheimer identifies some economic and psychological assumptions he believes to be erroneous and suggests a shift in research focus to the realities of mass political and social behavior. The author, recently on the faculty of Temple University, is now Assistant Director of Studies of the American Friends Service Committee.

The following article is an exploration of the non-linear and non-unified identities that make up Australian feminism. The main premise is that the divergent strands of rational and romantic thought, central to the project of liberalism, are inherent in the characterization of Australian feminisms. As a result, there have always been tensions between feminists, centred around politics of self-identification. These tensions continue to exist, but to be articulated in different ways in different decades as a result of the ever changing relationships between feminist, state and media/public discourses. These ideas are explored through comparing two key moments in our recent past in which differences between feminisms were declared. These two events – the Mary Daly visit to Australia to promote Gyn/Ecology in 1981, and the debate engendered by Helen Garner's The First Stone in 1995 – are taken to be performative metaphors through which the continuities and discontinuities of the nature of Australian feminisms can be subjectively explored.