The world of fashion has lived in a bubble long before the concept found its way into social networks. Well before the social networks themselves, in fact. The very emergence of fashion as an idea occurred within the bubble of the social life at Palace of Versailles, France, where the notorious Louis XIV sported great interest in the looks of his court in addition to those of his own. The article is an outsider's attempt to have a sober look at the fashion industry that until recently seemed to have maintained the "structure of feeling" of the 17th century Palace of Versailles. Today's social realities, however, put fashion in the state of a shock that probably equals that of the Storming of the Bastille in 1789, even though it is presumably much less sudden. Written in the manner of the most popular contemporary fashion media format – a bullet list, the text presents a conceptual analysis of the world's second most wasteful yet poisonously attractive industry, critically reflecting on such characteristic values of the fashion field as concept and features, hierarchy, arrogance, resources and philosophy.
Don Juan, one of the most popular cultural figures in the Western civilization, has deserved the attention of philosophers relatively recently. Postmodern and post-structuralist reflections on the issues related to the character of Don Juan refer to the figure as a ready-made construct whose implications and meanings are well-established. It indicates that the Don Juan figure represents a certain cultural phenomenon in social (and philosophical) consciousness. That image is an instrument of reflection on the social perception of human sexuality in general, and attempts to systematize and govern it in particular. The article suggests a reading of the Don Juan figure within the frames of Michel Foucault's theory of power claiming that the meaning of the character of Don Juan lies in its power-based relations with his environment. Seen in the Foucauldian light, Don Juan is an instrument of the system of surveillance over the 'law of marriage', to quote Foucault; he is the one who disobeys the discipline of the social system, and seems to have the privilege of being exempt from its requirements. The analysis of the three power-based relations (Don Juan's domination over the society, over the women whom he violates, and over his own discourse) leads to the conclusion that Don Juan is a political power-figure, because he acts as an instrument of surveillance over the social male-female relationship. Yet the story of Don Juan also raises the problem of an individual against an authority, and the limits of a system as opposed to individual freedom. Along with being an 'irritator', a certain 'tester' of the limits of the social tolerance to individual violations of the accepted moral laws, Don Juan becomes the symbolical figure that embodies the inherent human need to transgress the accepted norms, to explore the limits of freedom. Don Juan's seduction becomes an invitation to partake of his liberty, to spend a moment in an unrestricted existence, in the primeval freedom of self-enjoyment. At the same time, however, the seduction process performed by Don Juan launches the inner censorship, or the inner surveillance apparatus of every individual – the female victim, her male protector (father, brother or any other), other members of the Don Juan's society, as well as male and female members of his audience (i.e. the spectators, or the readers). That is, the article suggests, the power message that the Don Juan figure broadcasts to the culture it acts in. ; Don Žuanas – viena populiariausių kultūrinių Vakarų civilizacijos figūrų, tačiau filosofų dėmesio sulaukė palyginti neseniai. Postmodernistai ir poststruktūralistai nagrinėja Don Žuaną kaip susiformavusį konstruktą su nusistovėjusiomis reikšmėmis ir potekstėmis. Don Žuanas kaip figūra atskleidžia tam tikrą kultūrinį reiškinį socialinėje (ir filosofinėje) sąmonėje. Šis reiškinys veikia kaip mąstymo apie socialinę seksualumo sampratą ir konkrečius bandymus jį sistematizuoti bei valdyti įrankis. Straipsnyje Don Žuanas tyrinėjamas remiantis Michelio Foucault galios teorija, manoma, kad Don Žuano reikšmė slypi galia grįstuose jo santykiuose su aplinka. Analizuojant šiuos dominavimu pagrįstus santykius – Don Žuano dominavimas visuomenėje, santykiuose su moterimis ir jo paties diskurso atžvilgiu – siekiama ištirti reguliavimo metodus, kuriuos visuomenė taiko savo narių seksualumui ir asmens laisvės riboms apibrėžti. Straipsnyje prieinama prie išvados, kad Don Žuanas yra politinė galios figūra, nes jis veikia kaip socialinės vyrų ir moterų santykių priežiūros įrankis. Suvedžiodamas Don Žuanas paskatina įsijungti kiekvieno asmens vidinį 'priežiūros' įtaisą: tiek moters aukos, tiek jos gynėjo vyro (tėvo, brolio ar kito), tiek kitų visuomenės narių, tiek vyriškos bei moteriškos lyties auditorijos, t. y. žiūrovų arba skaitytojų. Tai, straipsnio teigimu, ir yra Don Žuano galios žinia (angl. power message), perduodama kultūrai, kurioje jis veikia.
Don Juan, one of the most popular cultural fgures in the Western civilization, has deserved the attention of philosophers relatively recently. Postmodernist reflections on the character of Don Juan refer to it as a ready-made construct whose implications are well-established. It indicates that the Don Juan fgure represents a certain cultural phenomenon in social consciousness. Tat image is an instrument of reflection on the social perception of human sexuality in general and attempts to systematize and govern it in particular. Te article suggests a reading of the Don Juan fgure in the light of Michel Foucault's theory of power, claiming that the meaning of the character of Don Juan lies in its power-based relations with his environment. Don Juan's domination over the society, over the women whom he violates, and over his own discourse are analysed in order to explore the methods of regulation that society applies on the sexuality of its members, and limits of individual freedom. Te article concludes that Don Juan is a political power-fgure, because he acts as an instrument of surveillance over the social male-female relationship. Te seduction process performed by Don Juan launches the inner surveillance apparatus of every individual – the female victim, her male protector (father, brother or any other), other members of Don Juan's society, as well as male and female members of his audience (i.e. the spectators, or the readers). Tat is, the article suggests, namely the power message that the Don Juan fgure broadcasts to the culture it acts in
Don Juan, one of the most popular cultural fgures in the Western civilization, has deserved the attention of philosophers relatively recently. Postmodernist reflections on the character of Don Juan refer to it as a ready-made construct whose implications are well-established. It indicates that the Don Juan fgure represents a certain cultural phenomenon in social consciousness. Tat image is an instrument of reflection on the social perception of human sexuality in general and attempts to systematize and govern it in particular. Te article suggests a reading of the Don Juan fgure in the light of Michel Foucault's theory of power, claiming that the meaning of the character of Don Juan lies in its power-based relations with his environment. Don Juan's domination over the society, over the women whom he violates, and over his own discourse are analysed in order to explore the methods of regulation that society applies on the sexuality of its members, and limits of individual freedom. Te article concludes that Don Juan is a political power-fgure, because he acts as an instrument of surveillance over the social male-female relationship. Te seduction process performed by Don Juan launches the inner surveillance apparatus of every individual – the female victim, her male protector (father, brother or any other), other members of Don Juan's society, as well as male and female members of his audience (i.e. the spectators, or the readers). Tat is, the article suggests, namely the power message that the Don Juan fgure broadcasts to the culture it acts in
