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My dissertation, Acts of Identity: A Political Theory of Biography, is prompted by the puzzle: why have so many political theorists shown interest in the genre of biography, seemingly such a private and apolitical genre? I answer that biography is a powerful lens through which to analyze the link between individual identity formation and political action. I develop this answer through four chapters that engage with a selection of political theorists who have written biographic works. In the first chapter, I examine Hannah Arendt’s claim that human beings are unlike other living things because each one of us develops a unique identity from the singularity of our biography. For her, who we are – and what makes us human – is what we say and do. In chapter two, I analyze Giorgio Agamben’s challenge to Arendt: he concludes that what makes us human is not what we say or do, but what we have the potential to do. This implies that our biography does not define who we are or make us human. I agree with the latter implication, but not the former. While the form of human life may not be biographic, individual identity is. Henceforth, I argue that individual identity is an artifact of language – a product of biographizing. In the third chapter, I illustrate this contention through two dossiers edited by Michel Foucault: I, Pierre Rivi�re and Herculine Barbin. These dossiers – the former about a “village idiot” who commits a terrible crime, the latter about an intersexed convent teacher who is declared to be a “man” after being raised as a “girl” – demonstrate that who we are is not just what we do, but the conceptual framing of what we do. In the fourth chapter, I argue for the democratization of biographizing. I engage with Jacques Ranci�re, who suggests that biography should adopt the style of modern literature, which treats all literary subjects as worthy of space on the page. In sum, Acts of Identity provides a novel account of biography that contributes to democratic t

The theme of alterity can be read in Hannah Arendt in a twofold manner. The first, grounded on Eichmann em Jerusalém, refers to denying the other as the incapacity to put oneself in the other’s place as well as to suppress the other through the nullification of their uniqueness. The second, drawing support mainly from The human condition and What is politics?, explores the conditions for alterity by focusing on the assumptions of action – world and plurality – and its powers – initium, revelation and energeia. Such conditions refer to amor mundi and to the responsibility attached to it as an educational condition (formation) so that the other can effectively become other., Le thème de l’altérité chez Hannah Arendt peut être lu par um mouvement double. Le premier inspiré d´Eichmann em Jerusalém, concerne la négation de l’autre par la voie de l’incapacité de se mettre à sa place et de la suppression de l´autre à travers l’annulation de sa singularité. Le deuxième, ancré dans La condition humaine et Qu’est-ce que la politique?, explore les conditions nécessaires pour l’altérité en se concentrant sur les présupposés de l’action – le monde et la pluralité – ainsi que sur ses pouvoirs – initium, révélation et energeia. De telles conditions renvoient à l’amor mundi et à la responsabilité qui lui est associée en tant que condition éducative (formation) pour que l’autre puisse devenir effectivement autre., O tema da alteridade pode ser lido em Hannah Arendt em um duplo movimento. O primeiro, com base em Eichmann em Jerusalém, concerne à negação do outro como incapacidade de se colocar no seu lugar e como sua supressão mediante a anulação de sua singularidade. O segundo, tomando por referências principais A condição humana e O que é política?, explora as condições para a alteridade, e o faz focando nos pressupostos da ação – mundo e pluralidade – e nos seus poderes – initium, revelação e energeia. Tais condições remetem ao amor mundi e à responsabilidade vinculada a ele como condição educativa (formação) para o outro poder vir a ser efetivamente outro., El tema de la alteridad puede ser leído en Hannah Arendt en un doble movimiento. El primero, con base en Eichmann em Jerusalém, se refiere a la negación del otro como incapacidad de ponerse en su lugar y como su supresión mediante la anulación de su singularidad. El segundo, teniendo como referencias principales La condición humana y .Qué es política?, estudia las condiciones para la alteridade y lo hace abordando los presupuestos de la acción –mundo y pluralidad– y en sus poderes –initium, revelación y energeia. Estas condiciones remiten al amor mundi y a la responsabilidad vinculada a él como condición educativa (formación) para que el otro pueda ser efectivamente otro.

My dissertation, Acts of Identity: A Political Theory of Biography, is prompted by the puzzle: why have so many political theorists shown interest in the genre of biography, seemingly such a private and apolitical genre? I answer that biography is a powerful lens through which to analyze the link between individual identity formation and political action. I develop this answer through four chapters that engage with a selection of political theorists who have written biographic works. In the first chapter, I examine Hannah Arendt’s claim that human beings are unlike other living things because each one of us develops a unique identity from the singularity of our biography. For her, who we are – and what makes us human – is what we say and do. In chapter two, I analyze Giorgio Agamben’s challenge to Arendt: he concludes that what makes us human is not what we say or do, but what we have the potential to do. This implies that our biography does not define who we are or make us human. I agree with the latter implication, but not the former. While the form of human life may not be biographic, individual identity is. Henceforth, I argue that individual identity is an artifact of language – a product of biographizing. In the third chapter, I illustrate this contention through two dossiers edited by Michel Foucault: I, Pierre Rivi�re and Herculine Barbin. These dossiers – the former about a “village idiot” who commits a terrible crime, the latter about an intersexed convent teacher who is declared to be a “man” after being raised as a “girl” – demonstrate that who we are is not just what we do, but the conceptual framing of what we do. In the fourth chapter, I argue for the democratization of biographizing. I engage with Jacques Ranci�re, who suggests that biography should adopt the style of modern literature, which treats all literary subjects as worthy of space on the page. In sum, Acts of Identity provides a novel account of biography that contributes to democratic t

This paper examines the semantic force contained in notions of the future in politics and education, based on Hannah Arendt’s essay “Crisis in Education” (1958). For her, the tradition left a legacy regarding the conception of politics as a creation (poiésis), taking away the very dignity of human action (práxis) in this context of vita activa [active life]. The political phenomenon of birth, the eruption of newarrivals in the world and the promise of a new beginning, serve as counterpoints to the desire to create, be it a new society or be it a new man, in the educational context. The over-use of the slogan of a school of the future justifies a more detailed examination of the conservative attitude that Arendt bestows upon education in its exercise of political thought as a form of preserving the new political potential of new-arrivals in the world., Il s’agit d’examiner la force sémantique contenue dans les notions d’avenir em politique et en éducation à partir de l’essai de Hannah Arendt « La crise dans l’éducation » (1958). Pour l’auteur, la tradition a légué la conception de politique en tant que fabrication (poièsis), en lui ôtant la dignité propre à l’action humaine (praxis) au sein de la vie active. Le phénomène politique de la natalité – l’irruption des nouveaux-venus au monde et la promesse d’un nouveau début – sert de contrepoint au désir de fabriquer soit une nouvelle société, soit le nouvel homme, dans le domaine de l’éducation. L’usage abusif du slogan d’une école de l’avenir justifie un examen plus attentif d’une attitude conservatrice qu’Arendt confère à l’éducation dans ses exercices de pensée politique comme forme de préserver la nouveauté potentielle des nouveaux-venus au monde., Faz-se o exame da força semântica contida nas noções de futuro em política e educação a partir do ensaio de Hannah Arendt “A crise na educação” (1958). Para a pensadora, a tradição legou uma concepção da política como fabricação (poiésis), retirando a dignidade própria da ação humana (práxis) nesse âmbito da vida ativa. O fenômeno político da natalidade – a irrupção de recém-chegados ao mundo e a promessa de um novo início – serve como contraponto ao desejo de fabricar seja a nova sociedade, seja o novo homem, no âmbito educacional. O uso abusivo do slogan de uma escola do futuro justifica um exame mais detido da atitude conservadora que Arendt confere à educação nos seus exercícios de pensamento político como forma de preservar a potencial novidade política dos recém-chegados ao mundo., Se efectúa un examen de la fuerza semántica presente en las nociones de futuro en política y educación a partir del ensayo de Hannah Arendt, “La crisis en la educación” (1958). Para la pensadora, la tradición legó una concepción de la política como fabricación (poiesis), retirando la dignidad propia de la acción humana (praxis) en dicho ámbito de la vida activa. El fenómeno político de la natalidad – la irrupción de recién llegados al mundo y la promesa de un nuevo inicio – sirve como contrapunto al deseo de fabricar tanto la nueva sociedad como el nuevo hombre, en el ámbito educacional. El uso abusivo del eslogan de uma escuela del futuro justifica un examen más detallado de la actitud conservadora que Arendt le otorga a la educación en sus ejercicios de pensamiento político como forma de preservar la potencial novedad política de los recién llegados al mundo.

Women in visual media are generally underrepresented and stereotypically portrayed. It is a very undifferentiated image, that few women can actually identify with. Norm-breaking characters can have an essential part and a positive influence on humans identity formation, research shows. The purpose of this study is to examine eight women’s stories about how television shows had an impact on their identity formation, primarily focusing on Hannah from the very popular tv-series Girls. Hannah has been described as a plain and slightly overweight heroine, not suited for modern television. The study is built on a qualitative science-method through semi-structured interviews, with subjective stories as focal point. The selection of interviewees identify themselves as women and have seen Girls. The study shows that Hannah works as a role model by inspiring the interviewees to acknowledge and accept their self-view, in addition to increasing their bravery and place amongst other people. Thenceforth, they felt that there was a small representation of strong female characters on modern television and saw a necessity for Hannah in popular culture.

Women in visual media are generally underrepresented and stereotypically portrayed. It is a very undifferentiated image, that few women can actually identify with. Norm-breaking characters can have an essential part and a positive influence on humans identity formation, research shows. The purpose of this study is to examine eight women’s stories about how television shows had an impact on their identity formation, primarily focusing on Hannah from the very popular tv-series Girls. Hannah has been described as a plain and slightly overweight heroine, not suited for modern television. The study is built on a qualitative science-method through semi-structured interviews, with subjective stories as focal point. The selection of interviewees identify themselves as women and have seen Girls. The study shows that Hannah works as a role model by inspiring the interviewees to acknowledge and accept their self-view, in addition to increasing their bravery and place amongst other people. Thenceforth, they felt that there was a small representation of strong female characters on modern television and saw a necessity for Hannah in popular culture.

The idea proposed in this article is developed on the basis of the conceptual analysis of the term “ideology” as used by Hannah Arendt in The Origins of Totalitarianism. The semantic context imposed by Arendt´s use of this term is revisited considering the following objection proposed by Phillippe Lacoue-Labarthe and JeanLuc Nancy: the term “ideology”, as used by Arendt does not give account of one of the most important characteristics of the Nazi ideology: the myth. To accomplish this purpose, references to Roberto Esposito´s term “political myth” are also included and applied to some parts of Heinrich Himmer´s discourses. This leads in the final section of the article to the proposal, also in discussion with Arendt, of a small turn in the way that the relationship to the past in the Nazi ideology could be understood., La idea propuesta en este artículo se lleva a cabo a partir del análisis conceptual del término “ideología”, tal como es usado por Hannah Arendt en Los orígenes del totalitarismo. El contexto semántico que se impone con el uso que hace Arendt de este término es revisado a la luz de la siguiente objeción propuesta por Phillippe Lacoue-Labarthe y Jean-Luc Nancy: el término ideología, tal como lo usa esta autora, no da cuenta de una de las características más importantes de la ideología nazi: el mito. Con el propósito de ilustrar esta idea, se aplica el sentido del término “mito político” propuesto por Roberto Esposito a algunas palabras contenidas en los discursos de Heinrich Himmler. Esto conduce, en la parte final del texto, a proponer, también en discusión con Arendt, un giro en la forma como podría llegar a ser entendida la relación con el pasado en la ideología nazi.

The idea proposed in this article is developed on the basis of the conceptual analysis of the term “ideology” as used by Hannah Arendt in The Origins of Totalitarianism. The semantic context imposed by Arendt´s use of this term is revisited considering the following objection proposed by Phillippe Lacoue-Labarthe and JeanLuc Nancy: the term “ideology”, as used by Arendt does not give account of one of the most important characteristics of the Nazi ideology: the myth. To accomplish this purpose, references to Roberto Esposito´s term “political myth” are also included and applied to some parts of Heinrich Himmer´s discourses. This leads in the final section of the article to the proposal, also in discussion with Arendt, of a small turn in the way that the relationship to the past in the Nazi ideology could be understood., La idea propuesta en este artículo se lleva a cabo a partir del análisis conceptual del término “ideología”, tal como es usado por Hannah Arendt en Los orígenes del totalitarismo. El contexto semántico que se impone con el uso que hace Arendt de este término es revisado a la luz de la siguiente objeción propuesta por Phillippe Lacoue-Labarthe y Jean-Luc Nancy: el término ideología, tal como lo usa esta autora, no da cuenta de una de las características más importantes de la ideología nazi: el mito. Con el propósito de ilustrar esta idea, se aplica el sentido del término “mito político” propuesto por Roberto Esposito a algunas palabras contenidas en los discursos de Heinrich Himmler. Esto conduce, en la parte final del texto, a proponer, también en discusión con Arendt, un giro en la forma como podría llegar a ser entendida la relación con el pasado en la ideología nazi.

Conceptualising difference is a key task for inclusive pedagogy, and vital to the politics of inclusion. My purpose in this paper is to consider the place that imagination has in helping us to conceptualise difference, and to argue that imagination has a key part to play in inclusive pedagogy. To do this I draw closely on the work of Maxine Greene and Hannah Arendt. Arendt's work provides a means to conceptualise difference whereby difference is itself at the very heart of what constitutes our humanity. Greene's work on the arts has outlined the value of the imagination, and has argued for the place of the arts in education and pedagogy. What is needed, however, is a careful account of how the imagination is connected to politics. In this paper I take up Greene's call to 'release the imagination' and drawing on Arendt, develop an account of the relationship between the imagination, thinking, and politics and how this can be used to argue the place of imagination in inclusive pedagogy.

Conceptualising difference is a key task for inclusive pedagogy, and vital to the politics of inclusion. My purpose in this paper is to consider the place that imagination has in helping us to conceptualise difference, and to argue that imagination has a key part to play in inclusive pedagogy. To do this I draw closely on the work of Maxine Greene and Hannah Arendt. Arendt's work provides a means to conceptualise difference whereby difference is itself at the very heart of what constitutes our humanity. Greene's work on the arts has outlined the value of the imagination, and has argued for the place of the arts in education and pedagogy. What is needed, however, is a careful account of how the imagination is connected to politics. In this paper I take up Greene's call to 'release the imagination' and drawing on Arendt, develop an account of the relationship between the imagination, thinking, and politics and how this can be used to argue the place of imagination in inclusive pedagogy.

Conceptualising difference is a key task for inclusive pedagogy, and vital to the politics of inclusion. My purpose in this paper is to consider the place that imagination has in helping us to conceptualise difference, and to argue that imagination has a key part to play in inclusive pedagogy. To do this I draw closely on the work of Maxine Greene and Hannah Arendt. Arendt's work provides a means to conceptualise difference whereby difference is itself at the very heart of what constitutes our humanity. Greene's work on the arts has outlined the value of the imagination, and has argued for the place of the arts in education and pedagogy. What is needed, however, is a careful account of how the imagination is connected to politics. In this paper I take up Greene's call to 'release the imagination' and drawing on Arendt, develop an account of the relationship between the imagination, thinking, and politics and how this can be used to argue the place of imagination in inclusive pedagogy.

This paper examines Hannah Höchs photomontage Schnitt mit dem Küchenmesser Dada durch die letzte weimaren bierbauchkulturepoche Deutschlands. The paper has as its aims to understand and analyze the predominated allegorical interpretation of Schnitt and to develop a logic how meaning is produced when a viewer look at Schnitts surface. The paper finds that the predominated interpretation has been arbitrarily created out of a specific spectator that acts in a specific context and conclude instead that the predominated interpretation should be understood as a potential interpretation by a potential viewer. The paper continues to create an understanding of Schnitt as a flatbed picture to establish that as a postulate and to use it in the later semiotic dissection of Schnitts surface. The paper then semiotically explains how a viewers meaning is produced by creating a chain with Schnitts photographical fragments and connecting these with syntagmatic relations.

This text shows how evil can be contained in certain way of speaking. In terms of J. L. Austin, and considering Hannah Arendt, with the help of an example taken from recent Colombian history, it illustrates the ilocucionary force of certain expressions. The example is found in one of the most important speeches of former president Laureano Gómez Castro. The text concludes by showing how, Gómez, rather than maintaining promises that he makes in his speech or describing a series of things, lies, and in so doing, changes the world through his way of evilly acting above it, En este trabajo se muestra cómo es posible que el mal pueda estar contenido en cierta forma de hablar. En términos de J. L. Austin, y de la mano de Hannah Arendt, a la luz de un ejemplo tomado de la historia colombiana, se ilustra la fuerza ilocucionaria de ciertas expresiones. El ejemplo está contenido en uno de los discursos más célebres del expresidente colombiano Laureano Gómez Castro. El texto concluye mostrando cómo, con los enunciados que Gómez emite, antes que cumplir las promesas que hace en su discurso o describir una serie de cosas, miente y en tanto hace esto, cambia el mundo en la forma de actuar sobre él con maldad.

This text shows how evil can be contained in certain way of speaking. In terms of J. L. Austin, and considering Hannah Arendt, with the help of an example taken from recent Colombian history, it illustrates the ilocucionary force of certain expressions. The example is found in one of the most important speeches of former president Laureano Gómez Castro. The text concludes by showing how, Gómez, rather than maintaining promises that he makes in his speech or describing a series of things, lies, and in so doing, changes the world through his way of evilly acting above it, En este trabajo se muestra cómo es posible que el mal pueda estar contenido en cierta forma de hablar. En términos de J. L. Austin, y de la mano de Hannah Arendt, a la luz de un ejemplo tomado de la historia colombiana, se ilustra la fuerza ilocucionaria de ciertas expresiones. El ejemplo está contenido en uno de los discursos más célebres del expresidente colombiano Laureano Gómez Castro. El texto concluye mostrando cómo, con los enunciados que Gómez emite, antes que cumplir las promesas que hace en su discurso o describir una serie de cosas, miente y en tanto hace esto, cambia el mundo en la forma de actuar sobre él con maldad.

This paper examines Hannah Höchs photomontage Schnitt mit dem Küchenmesser Dada durch die letzte weimaren bierbauchkulturepoche Deutschlands. The paper has as its aims to understand and analyze the predominated allegorical interpretation of Schnitt and to develop a logic how meaning is produced when a viewer look at Schnitts surface. The paper finds that the predominated interpretation has been arbitrarily created out of a specific spectator that acts in a specific context and conclude instead that the predominated interpretation should be understood as a potential interpretation by a potential viewer. The paper continues to create an understanding of Schnitt as a flatbed picture to establish that as a postulate and to use it in the later semiotic dissection of Schnitts surface. The paper then semiotically explains how a viewers meaning is produced by creating a chain with Schnitts photographical fragments and connecting these with syntagmatic relations.

Darius Milhaud (1892-1974), Henri Tomasi (1901-1971), and Eugene Bozza (1905-1991) were influential French composers born within fifteen years of one another. They each composed a major clarinet concerto that was significant for their time and composed repertoire for the prestigious Solo de Concours examination at the Paris Conservatory. The works performed on these recitals showcase the concerti and are augmented by repertoire by the same composer. Program notes include a brief biography of the composer, discuss the works performed, and describe the compositions' relevance to the tradition and evolution of the French clarinet school. The purpose of this project is to acquaint clarinetists with the concerti and other lesser-known works that are not currently available as commercial recordings. They are all performed with clarinet and piano or solo clarinet. This discography will be a resource for clarinetists particularly for the works by Henri Tomasi. Many of these compositions have been overshadowed by other repertoire from the twentieth century but at the time, they established a technical frontier for clarinetists of the 1950's. The concerti set a new standard of virtuosity and despite being eclipsed in popularity, deserve a more prominent place in the clarinet repertoire. The compositional techniques of Milhaud, Tomasi, and Bozza had an impact on the French clarinet school but also a subsequent influence on American clarinet playing. This project will encompass the works of Henri Tomasi whose clarinet works have received very little scholarship or recording. The works that are performed and elaborated on in the program notes include a recital of the music of Darius Milhaud featuring the Caprice, Duo Concertante, Sonatine, Scaramouche, and the Concerto (1941). The second recital focuses on music by Henri Tomasi and includes the Nocturne, Complainte de Jeune Indien, Danse Nuptial (from Sacred and Profane Dances), Sonatine Attique, Introduction and Danse, and the

El pensamiento de Hannah Arendt es vasto, complejo y desafiante, pues combina de manera magistral, polémica y sugestiva el pensamiento histórico, filosófico y político. Para dar cuenta de la teoría de Arendt, en este artículo se asume como estrategia expositiva la pregunta por la ciudadanía. A partir de esta pregunta y del contrapunto que se establece entre el ciudadano y el apátrida, se esbozan los rasgos centrales y se interpreta eso que Arendt llamo la condición humana.

El pensamiento de Hannah Arendt es vasto, complejo y desafiante, pues combina de manera magistral, polémica y sugestiva el pensamiento histórico, filosófico y político. Para dar cuenta de la teoría de Arendt, en este artículo se asume como estrategia expositiva la pregunta por la ciudadanía. A partir de esta pregunta y del contrapunto que se establece entre el ciudadano y el apátrida, se esbozan los rasgos centrales y se interpreta eso que Arendt llamo la condición humana.

The Vision art exhibition in Port Chalmers is back, its usually decidedly local and eclectic mix attracting a huge number of people to sh II through the township. For the first time, it was accompanied by th LOAD project. Spread over two weeks and curated by Georgiana Morison, LOAD brought installation and performance works to a new audience, whilst also giving evidence of the strength of these practices in Dunedin

The Vision art exhibition in Port Chalmers is back, its usually decidedly local and eclectic mix attracting a huge number of people to sh II through the township. For the first time, it was accompanied by th LOAD project. Spread over two weeks and curated by Georgiana Morison, LOAD brought installation and performance works to a new audience, whilst also giving evidence of the strength of these practices in Dunedin

Portrait of Mrs. Hannah.