" By complicating and problematizing assumptions that are coded into our language, "there is a degree of work required of us to accurately describe them.
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First, note this key difference between Lana and lesser acts: she critiques the problems of America by participating in its iconography (imagine the stars and stripes on anybody else's album cover right now); others participate in problematizing America.
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"Problematizing Formalism: A Double-Cross of Genre Boundaries." College Composition and Communication. 51:1 Sept 1999. 89-95. Moreover, Cain says that “one can regard textual products as teachable and still maintain that being a writer is a "natural" act, one not subject to instruction.
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Mónica Guzmán, "Using tech to change your habits? Lessons from a behavior change fanatic" , Seattle Times blogs, January 28, 2013. There is also research problematizing tracking devices in relation to how we inhabit, experience and imagine our bodies and lives. All forms of lifelogging also carry privacy implications.
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Owona was considered the architect of the draft.Nantang Jua, "Problematizing a Transition: The Power Elite, the State, and Transition Politics in Cameroon", in Political Liberalization and Democratization in Africa (2003), ed. Julius Omozuanvbo Ihonvbere and John Mukum Mbaku, page 98. On 12 June 1993, he announced that the second draft had been completed.
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This distinction was always an untenable mode of literary criticism, unduly problematizing, for instance, the so-called "Silver Age" novelist Petronius, whose complex and sophisticated prose style in the Satyricon is full of conversational vulgarisms.Andrew Laird, Powers of Expression, Expressions of Power: Speech Presentation and Latin Literature (Oxford University Press, 1999), p. 250.
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Ettinger invented the Matrixial Trans-subjectivity theory, or simply "The Matrixial", with concepts like border linking, borderspacing, martial borderspace, copoiesis, wit(h)messing and co/in-habit(u)ation.Bracha L. Ettinger, "Matrixial Trans- subjectivity" in: Problematizing Global Knowledge. Theory, Culture and Society, Volum 23, Numbers 2–3, 2006.ISSN 0263-2764“Carriance, Copoiesis and the Subreal.” In: Saltwater.
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It deals with events in their depth and structure rather than in their contiguity in time. Where passive syntheses created a field of 'me's,' active synthesis is performed by 'I.' In the Freudian register, this synthesis describes the displaced energy of Eros, which becomes a searching and problematizing force rather than a simple stimulus to gratification. Proust and Lacan are key authors for this layer.
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From his philosophical heritage came Abraham's use of transphenomenology and anasemia: 'We will encounter this transphenomenological motif again, which, along with the anasemic rule, has long oriented this research'.Jacques Derrida, Note to Foreword, Magic Word p. 117 Referring to specific psychoanalytic conceptualization, one might say that '"Anasemia" is thus a process of problematizing the meaning of signs in an undetermined way'.Barbara Johnson, Note, in Magic Word p.
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In 1996, he was appointed as the inaugural holder of the AC Jordan chair of African studies at the University of Cape Town. He left after having disagreements with the administration on his draft syllabus of a foundation course on Africa called "Problematizing Africa". This was dubbed the "Mamdani Affair". From 1998 to 2002, he served as president of the Council for the Development of Social Science Research in Africa.
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She co-edited Silent Violence: Neoliberalism, Islamist Politics. The book is an anthology that explores contemporary Turkish politics by problematizing the synthetic articulation of Islamist politics with neo- liberal capitalism during the AK party's decade-long rule. The contributions analyze the policies of the AKP regime in order to understand the changes in Turkish Society. Cosar was interviewed by Gülden Ozcan after the aftermath of Gezi and Erdoğan's Presidential election.
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Postmodernism often entails a response to the theory that the truths of the world will be discovered through science. Postmodernists contend that truth is subjective, rather than objective, as it is biased towards each individual's beliefs and outlook on the world. They often use unreliable, first-person narration, and narrative fragmentation. One critic has argued that Vonnegut's most famous novel, Slaughterhouse-Five, features a metafictional, Janus-headed outlook as it seeks both to represent actual historical events while problematizing the very notion of doing exactly that.
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Călinescu, p.529 Urechia, which the writer added in adult life, is a variant of urechea (Romanian for "the ear"), often transcribed as ureche ("ear"). An occasional rendition of the name, reflecting antiquated versions of the Romanian alphabet, is Urechiă.Călinescu, p.416Martin Banham (ed.), The Cambridge Guide to Theatre, Cambridge University Press, Cambridge, p.934. Marcel Cornis-Pope, "The Search for a Modern, Problematizing Historical Consciousness: Romanian Historical Fiction and Family Cycles", in Marcel Cornis-Pope, John Neubauer (eds.), History of the Literary Cultures of East-Central Europe, Vol. I, John Benjamins, Amsterdam & Philadelphia, 2004, p.500.
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In sustaining cooperative online communities, ARGs build on "an alignment of interest, where problems are presented in a fashion that assists game designers in their goal while intriguing and aiding players in their goals". This returns to ARGs' framework of transmedia storytelling, which necessitates that ARG designers relinquish a significant degree of their power to the ARG's audience, problematizing traditional views of authorship. The majority of the scholastic review on ARGs analyzes their pedagogical advantages. Notably, in the classroom, ARGs can be effective tools for providing exigence on given topics and yield a collaborative and experiential learning environment.
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Whether Kubota's work can be described as feminist has been a topic of interest in the scholarship and presentation of her work.Stiles, Kristine, "Between Water and Stone: Fluxus Performance, A Metaphysics of Acts," in Armstrong and Rothfuss, In the Spirit of Fluxus, 82.Rebecca Schneider, The Explicit Body in Performance (New York: Routledge, 1997), 38 Kelly O'Dell writes that Kubota's references to Marcel Duchamp, Jackson Pollock, and Yves Klein, are used by feminist critics to describe Kubota's work as problematizing the interest of the Western canon in masculine rendering, to reclaim art for women.O'Dell, Kelly, 1997.
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Furthermore, anti-miscegenation laws weren't established globally, problematizing the scope of this argument's relevance transnationally. Instead, the emergence and growth of multiracial populations can be more accurately attributed to global and transnational phenomenon such as changes in trade patterns and migration flows as a result of historical events, colonization, and or globalization. Additionally, the application of multiracialism, as well as the size of a nation's multiracial population, will be unique across societies. This can be attributed to the function of race as a social and political construct, one which was developed in order to more easily distribute resources and determine status within societies.
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Bursztyn entered the canon of Colombian art history as a key modern artist, but to place emphasis primarily on her formal innovations as they contributed to the development of modern, autonomous art in Colombia is to risk minimizing the ways in which her work challenged cultural hegemony and European-American discourses of modernity. Her art can be interpreted as problematizing the assumption that "development" is the answer to "underdevelopment," that modernity can be universally beneficial. In their confrontations with dominant power structures in Colombia that sought to control class and gender relations and morality, Bursztyn's work exposed modernity's dark side, coloniality.
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In one of her published articles, "Problematizing the Problem in Communication: A Dialogic Perspective," Baxter discusses the problems within dialogue. She compares her thoughts on dialogue to Mikhail Bakhtin’s dialogism. She also compares her ideas with relational dialectics with an interview conducted by Em Griffin, an author of A First Look at Communication Theory. She believes that differences in relationships are what give it a wholeness, where as Bakhtin’s reference to dialogue isn’t used in "the sense of a happy, pleasant experience". For Baxter’s study on family communication, Topic Expansiveness and Family Communication Patterns discovers individual’s binary decision in engaging disclosure or avoidance within communication.
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Works often described as examples of historiographical metafiction include: William Shakespeare's Pericles, Prince of Tyre (c.1608), John Fowles' The French Lieutenant's Woman (1969), E. L. Doctorow's Ragtime (1975), William Kennedy's Legs (1975), Salman Rushdie's Midnight's Children (1981), Shashi Tharoor's The Great Indian Novel (1989), A. S. Byatt's Possession (1990), Michael Ondaatje's The English Patient (1992), Thomas Pynchon's Mason & Dixon (1997) and many others. By seeking to represent both actual historical events from World War Two while, at the same time, problematizing the very notion of doing exactly that, Kurt Vonnegut's Slaughterhouse-Five (1969) features a metafictional, "Janus-headed" perspective.Jensen, Mikkel (2016) "Janus-Headed Postmodernism: The Opening Lines of Slaughterhouse-Five" in The Explicator, 74:1, 8-11.
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Active in the field of international contemporary art biennials, Tancons is currently a curator for Sharjah Biennial 14: Leaving the Echo Chamber (with Zoe Butt and Omar Kholeif) for which she is curating the "Look for Me All Around You", a platform dedicated to problematizing the politics of performance under globalizing conditions of dispossession and diasporization. She was Associate Curator for the first iteration of Prospect New Orleans, from 2007-2009. In 2008, she organized the processional performance SPRING for the 7th Gwangju Biennial, under the direction of Okwui Enwezor, which received numerous positive reviews. SPRING merged the forms of carnival parade, political demonstration, and funeral procession with performances in the streets of Gwangju by Mario Benjamin, Marlon Griffith, Jin Won Lee, Jarbas Lopes, MAP Office, Karyn Olivier, and Caecilia Tripp.
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A month later, La Rocque described the violence of his followers at the Parc des Princes as a spontaneous "mass unprising" that had stopped the "rise to power of a Communist plot."Robert Soucy, "Fascism in France: Problematizing the Immunity Thesis", France in the Era of Fascism: Essays on the French Authoritarian Right, Brian Jenkins, editor, New York and Oxford, Berghahn Books, 2005, p. 78. Nor, according to Soucy, was La Rocque always opposed to anti-Semitism. Although La Rocque did oppose biological anti-Semitism and defended "French" Jews, especially Jewish war veterans and right-wing Jews (the chief rabbi of Paris, Rabbi Kaplan, supported him for a while), he indulged increasingly in cultural and political anti-Semitism after 1936, especially where Jewish immigrants and Popular Front Jews were concerned.
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During the later period of the rebetiko revival there has been a cultural entente between Greek and Turkish musicians, mostly of the younger generations. One consequence of this has been a tendency to overemphasize the makam aspect of rebetiko at the expense of the European components and, most significantly, at the expense of perceiving and problematizing this music's truly syncretic nature. However it is important to note in this context that a considerable proportion of the rebetiko repertoire on Greek records until 1936 was not dramatically different, except in terms of language and musical "dialect", from Ottoman café music (played by musicians of various ethnic backgrounds) which the mainland Greeks called "Smyrneika " . This portion of the recorded repertoire was played almost exclusively on the instruments of Smyrneika/Ottoman café music, such as kanonaki, santouri, politikí lyra (gr.
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It has been argued that Frye's version of archetypal criticism strictly categorizes works based on their genres, which determines how an archetype is to be interpreted in a text. According to this argument the dilemma Frye's archetypal criticism faces with more contemporary literature, and that of post-modernism in general, is that genres and categories are no longer distinctly separate and that the very concept of genres has become blurred, thus problematizing Frye's schema. For instance Beckett's Waiting For Godot is considered a tragicomedy, a play with elements of tragedy and satire, with the implication that interpreting textual elements in the play becomes difficult as the two opposing seasons and conventions that Frye associated with genres are pitted against each other. But in fact arguments about generic blends such as tragicomedy go back to the Renaissance, and Frye always conceived of genres as fluid.
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Ehrman notes that Doherty, like many other mythicists, "quotes professional scholars at length when their views prove useful for developing aspects of his argument, but he fails to point out that not a single of these scholars agrees with his overarching thesis." Ehrman has specifically criticized Doherty for misquoting scholarly sources as if in support of his celestial being-hypothesis, whereas those sources explicitly "[refer] to Christ becoming a human being in flesh on earth – precisely the view he rejects."Bart Ehrman (25 april 2012), Fuller Reply to Richard Carrier James McGrath criticizes Carrier, stating that Carrier is ignoring the details, and that "Philo is offering an allusive reference to, and allegorical treatment of, a text in Zechariah which mentioned a historical high priest named Joshua."James McGrath (sept. 16, 2012), Further Problematizing Richard Carrier’s Claims about Jesus According to Hurtado, for Paul and his contemporaries Jesus was a human being, who was exaltated as Messiah and Lord after his crucifixion.
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In the 1980s, Stahl worried that Vinea's late publication had rendered him insignificant to Romanian letters, his novels "problematizing defects and qualities that are antique, and therefore uninteresting." Contrarily, Monica Lovinescu asserted that Vinea's "frozen evolution" during socialist realism had rendered him "this paradoxical service: Ion Vinea is perhaps more relevant today than ever before." He was "young, the same age as those young people who cannot but search for new ways ahead, who cannot but recall with nostalgia [Vinea's] itinerary for poetic revolt."Lovinescu, pp. 119–120 Unwittingly, however, Vinea's pronouncements on folk tradition and Romania's primacy in modern art were recycled during the late stages of communism by the Protochronist nationalists, who used them against the West.Cernat (2007), pp. 212, 404–405, 410 By the 1980s, his contribution to Evenimentul Zilei was being officially placed among the acts of infiltration "by journalists of democratic and anti-fascist orientation".Mihai E. Ionescu, "Acțiunea Partidului Comunist Român, a celorlalte forțe politice democratice în interiorul propagandei oficiale (6 septembrie 1940—23 august 1944)", Revista de Istorie, Nr. 7/1983, p.
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The existence of this universal inner tradition has not been discovered through scientific or scholarly enquiry; this had led some to claim that it does not exist, although Hanegraaff thought it better to adopt a view based in methodological agnosticism by stating that "we simply do not know - and cannot know" if it exists or not. He noted that, even if such a true and absolute nature of reality really existed, it would only be accessible through "esoteric" spiritual practices, and could not be discovered or measured by the "exoteric" tools of scientific and scholarly enquiry. Hanegraaff also highlighted that an attitude which seeks to uncover an inner hidden core of all esoteric currents masks the fact that such groups often contain significant differences from one another, being rooted in their own historical and social contexts, and expressing ideas and agendas which are mutually exclusive. A third issue was that many of those currents widely recognised as esoteric never concealed their teachings, and in the twentieth century came to permeate popular culture, thus problematizing the claim that esotericism could be defined by its hidden and secretive nature.
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