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241.More information
ABSTRACTInfluential postcolonial theories have successfully shown that the failure to recognize the value of certain cultural forms inflicts a form of harm. What these theories fail to note is that small, prosperous nations also require a politics of recognition as a result of the asymmetrical nature of relations governing major and minor cultures. To prove this point I consider aspects of contemporary Danish cinematic production. I attempt to identify the strategy for recognition that is best suited to filmmakers belonging to small, but prosperous nations.
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242.
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244.More information
The ecosystem in which the courts operate has evolved particularly abruptly since 2020, moving from a culture favoring “paper format” to an unstructured “marriage of convenience” with private intermediaries, on which justice depends as an essential infrastructure. Courts, as democratic institutions, are spontaneously entering into unregulated partnerships with multinational companies, whose mission is to commercialize data. This, in the face of a shortage of resources and growing pressure to unclog the courts.
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248.More information
AbstractLouis-Sébastien Mercier's 1780 Le Charlatan ou le Docteur Sacroton lends itself to an analysis of what would become a society craving entertainment. Through an eminently theatrical character, this comedy delves on the nascent culture of the simulacrum prevalent in the Age of Enlightenment. The ballyhooer character exaggerates the theatrical illusions, overdoes the spectacular ostentatious effects and suggests a direct relationship between the orator and the listener. Both as a comedian and in his role as a public orator able to work crowds and anticipate their reactions, this character comes across as a convenient form of “artification”, one that may cause doubt about the public space structured by the play. Thus, Mercier establishes a true policy of the wondrous. Beyond the quack's satire and popular beliefs, his words may give life, akin to the mysteries of the Eucharist. Not only can he then sublimate the symbolic effectiveness of the stage process, he can also cast a shadow upon the self-determination and critical minds of an audience whose thinking abilities he just glorified. The goal here is to put forth a precise dramaturgical analysis of the limited affects and the anthropology of attention that prevail.
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