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Copyright of Plural - Revista de Ciências Sociais is the property of Revista Plural and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Based on the principle of the historicity of the production and reception of fictional works, this article recovers the figure of the writer Albert Camus, through the novel The Stranger, making considerations about the way that critic Edward Said treats work and author within the debate about culture and imperialism. It is important to point out that Said's interpretive basis, when including Camus in the discussions about imperialism, is different from that used by the writer, so we try to historicize the two readings, emphasizing the "place" where Camus produces his texts and the way that he deals with the Arab peoples in his best-known novel. [ABSTRACT FROM AUTHOR]

This article presents a reading of the narrative Enterre seus mortos (2018), by the contemporary Brazilian writer Ana Paula Maia, under the argument that, by deciding to bury the bodies of strangers at any cost so that they are not devoured by vultures, the character Edgar Wilson sets up an improbable act of compassion in an unnamed place where a precarious and almost animal life prevails. The characters, albeit in devious ways, cling to religion and Bible verses as the only glimpse of a possible life. [ABSTRACT FROM AUTHOR]

Copyright of Pixo: Revista de Arquitetura Cidade e Contemporaneidade is the property of Pixo Revista de Arquitetura Cidade e Contemporaneidade and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Building the way - Revista do Curso de Letras da UEG/Itapuranga is the property of Universidade Estadual de Goias and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Interdisciplinary Journal of Social Management / Revista Interdisciplinar de Gestão Social is the property of Revista Interdisciplinar de Gestao Social and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the reading of Primo Levi, the theme of the foreigner presents the polarization between hostility and exchange. The intertwining of barbarism, totalitarianism and anti-Semitism stands out in several texts, allowing a dialogue with intellectuals such as Arendt, Todorov and Bauman. The writer starts from the Enlightenment premise of an original barbarity that only reason could contain in a linear human evolution. However, in many narratives, Levi represents the encounter with the foreigners, or his own condition of foreigner in Auschwitz, in opposition to any conflict. The perception of the foreigner, therefore, oscillates between two poles that Paul Ricoeur identifies as sympathy and struggle, but after all the clash with strangers, even when problematic, develops in episodes where the idea of hospitality (Derrida) as a model of human relationships prevails. Contrary to a positivist view, the enemy's perception and ethnic-religious divisions are mainly shaped as a political construction internal to our "civilization". [ABSTRACT FROM AUTHOR]

There is a tendency within the literature to decry Kant as either a proto-imperialist or as a proto-democrat in relation to his views on distant strangers. I here take an alternative view, arguing that Kant’s cosmopolitan morality is considerably more context-sensitive than is often assumed. More specifically, I argue that Kant’s encounter with American nomads on the final pages of his Doctrine of Right reflects a nuanced reading of European settlers’ requisite comportment towards them: Kant neither endorses a universal duty of state entrance nor does he place nomads beyond all possible moral engagement with European settlers.

The Israeli film Strangers (Erez Tadmor/ Guy Nattiv, 2007) loosely integrates elements from Shakespeare’s play Romeo and Juliet and uses the archetype of the star-crossed lovers to approach the Middle East conflict. This paper questions how the original structure, which relies on a rivalry between two identical parties, is transposed to a setting where the power relations are marked by inequality. By examining the political meanings and the Orientalist overtones that are embedded in the process of gendering Israel and Palestine through the protagonists, this paper argues that Strangers affirms Israel’s cultural and moral superiority and silences the structural violence of both the occupation and the dispossession of the Palestinians. Granted that a key element in Shakespeare is the final reconciliation between the families, this paper finally questions the pertinence of Shakespeare’s play as a hypotext to address the realities of the Middle East.