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This essay explores the fractal narrative structure of the popular video game Assassin's Creed (2008). It theorizes a mode of fractal analysis of narration. It explores the existence of a political dimension to fractal aesthetics in Assassin's Creed in particular, which it claims is alert to important biopolitical insights concerning the situation of contemporary digital power. Drawing from Timothy Morton's analysis of hyperobjects, it argues that fractals pertain to vital contemporary political questions. Analysing Steven Shaviro's concept of modulation, the essay finds fractal analysis to be alert to contemporary questions of digital biopolitics. The essay claims that the fractal narrative structure of Assassin's Creed constitutes an innovative recognition of the biopolitics of video game playing. ; Ovaj rad istražuje fraktalnu narativnu strukturu popularne videoigre Assassin's Creed (2008). Također se postavlja teorijska osnova fraktalne analize naracije. Ispituje se mogućnost postojanja političke dimenzije fraktalne estetike, posebice u videoigri Assassin's Creed, za koju tvrdimo da je relevantna u istraživanju važnih biopolitičkih uvida u suvremenu digitalnu moć. Polazeći od analize hiperobjekata Timothyja Mortona, tvrdimo da fraktalnost ima ulogu u važnim suvremenim političkim pitanjima. Služeći se analizom pojma modulacije Stevena Shavira, ovaj rad dokazuje da je fraktalna analiza relevantna u istraživanju suvremenih problema digitalne biopolitike. Rad zaključuje da fraktalna narativna struktura videoigre Assassin's Creed inovativno upućuje na biopolitiku videoigara.

This essay explores the fractal narrative structure of the popular video game ''Assassin's Creed'' (2008). It theorizes a mode of fractal analysis of narration. It explores the existence of a political dimension to fractal aesthetics in ''Assassin's Creed'' in particular, which it claims is alert to important biopolitical insights concerning the situation of contemporary digital power. Drawing from Timothy Morton's analysis of hyperobjects, it argues that fractals pertain to vital contemporary political questions. Analysing Steven Shaviro's concept of modulation, the essay finds fractal analysis to be alert to contemporary questions of digital biopolitics. The essay claims that the fractal narrative structure of ''Assassin's Creed'' constitutes an innovative recognition of the biopolitics of video game playing.

Intro -- Contents -- Title Page -- Copyright -- Introduction -- Foreword -- Untitled Document -- Chapter One - Revolution! -- Chapter Two - The Swinging Sixties -- Chapter Three - An Angry Generation -- Chapter Four - Making the Personal Political -- Chapter Five - Feminism -- Chapter Six - On Patriarchy -- The Social Origins of Patriarchy -- The Evolution of Patriarchy -- Patriarchy As Fatherliness -- Patriarchy Today -- Chapter Seven - Marxism and 'The Woman Question' -- Chapter Eight - The Psycho-Social Aspects of Feminism -- Chapter Nine - Institutionalised Feminism -- Chapter Ten - The Social Outcomes of Feminism -- Chapter Eleven - The Feminist Fifth Column -- Rape Culture -- The Gender Pay Gap -- Domestic Violence -- Chapter Twelve - The Line, It Is Drawn -- Notes.

Due to heavy rains, the industrial canal that runs by Pop's café threatens to overflow and spill into it and the one-room station house next door. Pop organizes a work party to place sandbags around the two buildings. Despite their best efforts, the water from the canal floods the buildings destroying much of their interiors. Unable to secure a loan from the bank to pay for repairs and purchase new restaurant equipment, Pop contemplates selling his café. Just before Pop closes the deal, however, he learns that the company owning the canal has offered to settle the damage suit that he brought against it, sparing him from the need to sell the cafe. Pop learns from this ordeal who his true friends are.

I think of reasoning (or deliberation), arts of the self, and micropolitics as inter-involved modalities of private and public life that are not entirely reducible to one another. You reason, alone or with others, when you ask how to realize a set of goals or to modify them in new circumstances. You practice arts of the self after, say, you have acknowledged that some element in your faith promotes unnecessary suffering for others and/or is inconsonant with other prized elements. That element clings to you or you to it even though another part of you would like it go. An Augustinian might call this a will divided against itself.

Beginning on Thanksgiving Day 1999, and for many months to follow, the impact of diaspora groups on US international and domestic politics became strikingly clear when Elian Gonzalez's mother drowned, along with ten other Cuban refugees, while trying to reach South Florida's shores. Six-year-old Elian survived and reached the US, but only to suffer another torrent, once in the US, of lawsuits, custody battles, and a shameless political tug of war. Cubans on the island demanded that the boy be sent back to his father, who was still living in Cuba and pleading for the return of his son. Cuban Americans in Miami, including relatives of Elian, refused to return the boy to the "Communist tyranny" his mother had died trying to escape. This battle over one little boy's fate is just the most recent episode in a case that has, for over thirty years, illustrated the dedication (in this case antagonistic) that diasporas can maintain toward a homeland, the energy they can and will expend to influence US foreign policy toward that homeland, and the profound as well as profoundly complex implications of diaspora identity and mobilization for US politics and the US political system.