|
|
|
@ -0,0 +1,74 @@
|
|
|
|
|
|
|
|
a
|
|
|
|
|
|
|
|
1 a p
|
|
|
|
|
|
|
|
fo a Pa
|
|
|
|
|
|
|
|
6 , a mes
|
|
|
|
|
|
|
|
on h a show
|
|
|
|
|
|
|
|
for P a half
|
|
|
|
|
|
|
|
thoug A Good N
|
|
|
|
|
|
|
|
t Istan a pity th
|
|
|
|
|
|
|
|
a pity t a shower i
|
|
|
|
|
|
|
|
e was one a context w
|
|
|
|
|
|
|
|
wrote : “ a flame in t
|
|
|
|
|
|
|
|
n very dark a confidence
|
|
|
|
|
|
|
|
ts . It is l a promise. ” O
|
|
|
|
|
|
|
|
s located som a bibliography
|
|
|
|
|
|
|
|
ddle East . I a “ Hope Syllabu
|
|
|
|
|
|
|
|
essively a bibl a response to the
|
|
|
|
|
|
|
|
” I ’ ve been c A Sociology of Hop
|
|
|
|
|
|
|
|
Chantal Mouffe ’ a “ democracy to co
|
|
|
|
|
|
|
|
nected with the no a cynical withdrawal
|
|
|
|
|
|
|
|
ary ? ” Agamben des a particular relation
|
|
|
|
|
|
|
|
blinded by its ligh a light that strives b
|
|
|
|
|
|
|
|
ontemporary is nostal a particular time yet s
|
|
|
|
|
|
|
|
she is aware of her e a certain historical sen
|
|
|
|
|
|
|
|
erogeneous , Agamben ar a particular relationship
|
|
|
|
|
|
|
|
en hope and remembrance a full engagement with the
|
|
|
|
|
|
|
|
w yet persistent work of a social reality larger tha
|
|
|
|
|
|
|
|
t sense , being hopeful en a non-linear understanding o
|
|
|
|
|
|
|
|
me . In that regard , hope a project-driven world where
|
|
|
|
|
|
|
|
and meaning in the journey i a series works since the mid-1
|
|
|
|
|
|
|
|
for Mouffe refers to the set a society is created and govern
|
|
|
|
|
|
|
|
to the uncontested hegemony o a rationalist and individualist
|
|
|
|
|
|
|
|
ration this antagonistic dimens a compromise among competing inte
|
|
|
|
|
|
|
|
negotiate a compromise among com a rational , fully inclusive conse
|
|
|
|
|
|
|
|
us/them distinction of antagonis a way that is compatible with the r
|
|
|
|
|
|
|
|
tion of pluralism . In other words a democracy that acknowledges the in
|
|
|
|
|
|
|
|
wledges the ineradicable dimension a pluralist public space in which the
|
|
|
|
|
|
|
|
blish a pluralist public space in wh a nonviolent way . For Mouffe , this e
|
|
|
|
|
|
|
|
ails transforming antagonism to “ ago a situation where opposing political
|
|
|
|
|
|
|
|
now an adversary rather than an enemy a final agreement can be reached . A
|
|
|
|
|
|
|
|
’ s understanding of the political is “ a hegemonic one established by a se
|
|
|
|
|
|
|
|
cal is “ hegemony. ” Every social order a series of practices and institut
|
|
|
|
|
|
|
|
egemonic one established by a series of p a context of contingency . In oth
|
|
|
|
|
|
|
|
tutions within a context of contingency . a temporary and precarious artic
|
|
|
|
|
|
|
|
order is a temporary and precarious articu a given moment as ‘ natural ’ o
|
|
|
|
|
|
|
|
ng order to install another form of hegemony a complex argument into a bite
|
|
|
|
|
|
|
|
her form of hegemony . It may not be fair to a bite-size portion , but for
|
|
|
|
|
|
|
|
of radical democracy as the “ impossibility of a genuinely pluralistic demo
|
|
|
|
|
|
|
|
s to remain pluralistic at all ) . That is , if a given order it would not
|
|
|
|
|
|
|
|
rst place ; there wouldn ’ t be any differences a static situation that co
|
|
|
|
|
|
|
|
. This would culminate in a static situation tha a totalitarian society .
|
|
|
|
|
|
|
|
’ s not going to be completely realized , it will a process [ i ] that we
|
|
|
|
|
|
|
|
eed to despair . Laclau and Mouffe ’ s ideas about a project without an en
|
|
|
|
|
|
|
|
our political struggles , without the expectation of a final destination .
|
|
|
|
|
|
|
|
final destination . In the wake of the Jörg Haider m a right-wing mobiliza
|
|
|
|
|
|
|
|
ddressed the concept of hope and its relation to passi a more direct manner
|
|
|
|
|
|
|
|
material representations that evoke certain meanings an a flag , a song , a
|
|
|
|
|
|
|
|
representations that evoke certain meanings and emotions a song , a style o
|
|
|
|
|
|
|
|
ations that evoke certain meanings and emotions such as a a style of speaki
|
|
|
|
|
|
|
|
the origin of racist articulations , the Left has been add a moralistic dis
|
|
|
|
|
|
|
|
exploits . During the Gezi protests in June 2013 , I realiz a futile effort
|
|
|
|
|
|
|
|
oğan supporters what the protests meant for the participants a “ coupt atte
|
|
|
|
|
|
|
|
protests meant for the participants . It was not a “ coupt at a riot provok
|
|
|
|
|
|
|
|
ed by “ foreign spies. ” Dialogue is possible if all sides sha a square mil
|
|
|
|
|
|
|
|
13 , the Prime Minister and the pro-government media started to a blatant l
|
|
|
|
|
|
|
|
o circulate a blatant lie , now known as the “ Kabataş lie. ” Al a group of
|
|
|
|
|
|
|
|
topless male Gezi protesters clad in black skinny leather pants a woman i
|
|
|
|
|
|
|
|
tions failed to come to terms with the phenomenon . I found out Fr a concep
|
|
|
|
|
|
|
|
Freud ’ s concept of “ illusion ” is mostly about religion , it ’ a usefu
|
|
|
|
|
|
|
|
r helplessness [ 18 ] . Granted our psychological inclination for se a sour
|
|
|
|
|
|
|
|
s the social sciences and the arts , I observe both fields are practi a cri
|
|
|
|
|
|
|
|
f the times—as it has become common practice lately when , for instanc a pu
|
|
|
|
|
|
|
|
ublic symposium on current issues in the contemporary dance field becom a c
|
|
|
|
|
|
|
|
as become symptomatic of our epoch . Are we , perhaps , equating adoptin a
|
|
|
|
|
|
|
|
nly describing and analyzing the world but also contributing to making it a
|
