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When is a crisis a crisis?
(2017)
Far-right parties gained considerable support in many European countries in recent years. Austria comes within a whisker of becoming the first country in the history of the European Union to elect a far-right president, Horbert Hofer, the candidate from the Freedom Party. Similarly, in France, Marie Le Pen is expected to be Front National’s (FN) candidate in the 2017 presidential election and probably to make it to the second round of voting...
Much of today’s conflicts and challenges, globally and locally, can be in part attributed to or are influenced by the hegemony of Western over non-Western cultures and politics. Long-standing and still reproduced Western dominance and power are directed at the protection of own interests, thereby re-creating power imbalances, inequalities and practices of exclusion...
The diagnosis that we are living in a world risk society formulated by Ulrich Beck 20 years ago (Beck, Kölner Z Soziol Sozialpsychol 36:119–147, 1996) has lost nothing of its power, especially against the background of the Anthropocene debate. “Global risks” have been identified which are caused by human activities, technology, and modernization processes. Microplastics are a by-product of exactly these modernization processes, being distributed globally by physical processes like ocean currents, and causing effects far from their place of origin. In recent years, the topic has gained great prominence, as microplastics have been discovered nearly everywhere in the environment, raising questions about the impacts on food for human consumption. But are microplastics really a new phenomenon or rather a symptom of an old problem? And exactly what risks are involved? It seems that the phenomenon has accelerated political action—the USA has passed the Microbead-Free Waters Act 2015—and industries have pledged to fade out the use of microbeads in their cosmetic products. At first sight, is it a success for environmentalists and the protection of our planet?
This chapter deals with these questions by adopting a social-ecological perspective, discussing microplastics as a global risk. Taking four main characteristics of global risks, we develop four arguments to discuss (a) the everyday production of risk by societies, (b) scientific risk evaluation of microplastics, (c) social responses, and (d) problems of risk management. To illustrate these four issues, we draw on different aspects of the current scientific and public debate. In doing so, we contribute to a comprehensive understanding of the social-ecological implications of microplastics.
The concept of the "comprehensive approach" has become a paradigm for international state engagement in the field of fostering sustainable peace in crisis-ridden countries. This approach stipulates joint actions of different governmental institutions. The ministry of defence, providing interventionist armed forces; the ministry of interior, providing police personal; the ministry of foreign affairs, providing crisis aid and the ministry of economic cooperation and development define the core actors on the highest level, whilst the implementation of this approach is left to the various, highly heterogeneous employees of the ministries and their sub-contractors...
To imitate all that is hidden. The place of mimesis in Adorno’s theory of musical performance
(2017)
The article examines the use of the concept of mimesis in Adorno’s notes towards a theory of musical performance. In trying to idiosyncratically define the latter as “reproduction”, Adorno relied on a framework elaborating on concepts introduced by Arnold Schoenberg, Hugo Riemann and Walter Benjamin – a framework that the article discusses insofar as it deals with the problem of mimesis. Specific attention is devoted to the relation between Benjamin’s essays on language and translation and Adorno’s theory of notation, that soon became the crucial aspect of his theory of reproduction. Given the shortcomings of Adorno’s theory, which in the end did not achieve its goals, the article proposes to capitalize on his terminology while at the same time rethinking his framework in the light of recent musicological paradigms for the study of musical performance. On the whole, the article shows that it was Adorno’s philosophical assumptions – in particular the theses of music’s non-intentionality and of its non-similarity to language – that prevented him from convincingly theorizing musical performance, and suggests an alternative framework for future research.