Mapping the resonances, dissonances, and linkages among the concept of Gramsci and Foucault to discover new instruments for socio-political and significant research for the twenty-first century, this e-book reassesses the widely-held view that their paintings is incompatible.
With discussions of Latin American innovative politics, indigenous knowledges, applied sciences of presidency and the educating of paediatrics in post-invasion Iraq, complexity concept, scientific anthropology and biomedicine, and the position of Islam within the transition to trendy society within the Arab global, this interdisciplinary quantity offers the most recent theoretical study on diversified elements of those thinkers’ paintings, in addition to analyses of the explicit linkages that exist among them in concrete settings.
A rigorous, comparative exploration of the paintings of 2 towering figures of the twenty-first century, Gramsci and Foucault: A Reassessment will attract students and scholars of social and political concept, political sociology, conversation and media reports, and modern philosophy.
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Extra info for Gramsci and Foucault: A Reassessment
Hakan warns Eli to stay away from Oskar, as if he sees the boy as a rival for Eli’s affections—or, as if he sees himself as he once was. As Hakan becomes less and less able to provide human blood for Eli, her attentions turn instead to her neighbor. Her bid for companionship is thus also predatory, a bid to secure her own survival. By the end of the ﬁlm, Oskar has indeed taken Hakan’s place, travelling with Eli on the train away from Blackeberg. For the moment, he seems secure and conﬁdent, even dominant, with Eli hidden in the large box beside on the train— almost exactly like Maria in the opening scenes of Frostbitten—depending on him for support.
My name’s Maria,” the girl tells her. “Mother says we’ll be sisters and we will always be together. ) and almost incoherent. In particular, the connection between its opening (the Swedish SS Panzer Division in the Ukrainian forests in 1944) and its ending (a teenage party in an undistinguished satellite town in northern Sweden) remains opaque, or at least idiosyncratic. But the narrative of Annika and Saga—mother and daughter, part of a separated family that moves into a new neighborhood which then solicits and transforms them, ﬁnally bonding Saga to a kind of uncanny vampire kid “sister”—provides a trope that other vampire ﬁlms have invested in and developed.
4 The symbolic system operates to construct differences, but, inevitably, the process of classifying will generate intermediate categories, items that mediate between binary distinctions to the extent that they exhibit both sets of characteristics. The linguistic and social creation of order, realized through an elaborate classifying activity in which male is sorted from female, and so on, creates at the same time a system of disorder, whose categories are regarded by members of the social community as dirt, pollution, taboo.