Suchergebnisse

Maxwell reviews 'Subnational Politics and Democratization in Mexico' edited by Wayne A. Cornelius, Todd A. Eisenstadt and Jane Hindley. Subnational Politics and Democratization in Mexico, edited by Wayne A. Cornelius, Todd A. Eisenstadt, and Jane Hindley, is briefly reviewed.

The Affective Turn has lost its former innocence and euphoria. Affect Studies and its adjacent disciplines have now to prove that they can cope with the return of the affective real that technology, economy, and politics entail. Two seemingly contradictory developments serve as starting points for this volume. First, technological innovations such as affective computing, mood tracking, sentiment analysis, and social robotics all share a focus on the recognition and modulation of human affectivity. Affect gets measured, calculated, controlled. Secondly, recent developments in politics, social media usage, and right-wing journalism have contributed to a conspicuous rise of hate speech, cybermobbing, public shaming, "felt truths," and resentful populisms. In a very specific way, politics as well as power have become affective. Affect gets mobilized, fomented, unleashed. When the ways we deal with our affectivity get unsettled in such a dramatic fashion, we have to rethink our ethical, aesthetical, political as well as legal regimes of affect organization. ; Bernd Bösel: Affective Transformations: An Introduction Paul Stenner: Affect: On the Turn Gabriele Gramelsberger: Algorithm Awareness: Towards a Philosophy of Artifactuality Bernd Bösel: Affective Media Regulation: Or, How to Counter the Blackboxing of Emotional Life Oliver Leistert: From Social Data to Body Data to Psy Data: Tap, Tap, Tap Marie-Luise Angerer: Affective Milieus: Intensive Couplings, Technical Sentience, and a Nonconscious In-between Pierre Cassou-Noguès: Synhaptic Sensibility Dawid Kasprowicz: Encoding Proximity: Intuition in Human–Robot Collaborations Irina Kaldrack: Autonomous Dwelling: Smart Homes and Care IT Serjoscha Wiemer: Happy, Happy, Sad, Sad: Do You Feel Me? Constellations of Desires in Affective Technologies Andrew A. G. Ross: Mediated Humanitarian Affect Michaela Ott: Affection and Dividuation Matthias Fuchs: Attuning to What? The Uncanny Revival of the Aestheticization of Politics Jean Clam: Witnessing the Dismantlement of a Proven Structure of Belief: The Challenge of Populism and Alternative Facts to Liberal Democracy Markus Rautzenberg: Alien Thinking: On the Return of the Sublime as an Affective Medium

Colonial rule : shaping the destiny of a region -- Nationalism : the quest for identity and power -- A very political economy -- Conflict and lack of peace -- Past, present and future politics : Islam -- The ephemerals of democracy in the Middle East -- Women : the invisible population -- Endangered species : ethnicity and minorities -- Them and us : the United States, EU, and Russia in the Middle East -- The Arab Spring and the new era of uncertainty

This volume examines the fundamental nature of the relationship between politics and economics, and proposes a new definition of politics; the mobilization of values to change or reproduce the institutions that orientate, and indeed make possible, economic activity.

After the political changes in 1989 endowed Slovakia with the prospect of a successful and effective economic transition, the country's theatre scene boldly reflected the euphoria, which drove the society to a path where it could experiment, criticize and shift paradigms. Nonetheless, the artistic revolution of the 1990s (witnessing the advent of such innovative theatre ensembles as Stoka or GuNaGu) soon waned and gave way to a more commercial and politically benign theatre in the 21st century, trailed by the state-funded network of national theatres. This paper endeavors to examine how the dialectical relationship between state-funded national theatres and the fringe scene in Slovakia brought about a state in which political discourse and artistic originality became an inherent part of the independent theatre scene. While very few plays directly addressed the country's political development after 1989, or the dynamically changing social power structures, many productions were intrinsically political in the way they challenged the specifically delineated system of art funding. For example, the aesthetic of the Stoka theatre (and its artistic successor SkRAT), bearing traces of the devised method reminiscent of the American radical theatres of the 1960s and 1970s (such as the Open Theater or the Living Theater), became an artistic channel used to subvert not only traditional ways of theatremaking, but also the long-established torpid system of art funding. This paper aims to trace the development of political theatre in Slovakia after 1989 and speculate about why the political engagement through theatre seems to be losing its sting.

Militant democracy as it stands is not a general theory and practice of the protection of the constitution, but it can be perceived as a set of measures directed against radical emotionalism, a technique that may be relevant in all situations where emotionalism takes over the political process. Sajo considers militant democracy in a narrow, legalistic way as a set of bona fide preventive legal measures that place restrictions on rights and on the democratic process for the sake of democracy/constitutionalism. Adapted from the source document.