En rupture avec une vision dogmatique de la sociologie, Claude Dubar a œuvré pour un regard pluriel qui prend en compte la complexité du social qu'il a analysé dans ses trois niveaux : « les ...structures qui encadrent la vie sociale » ; « les interactions qui réunissent des individus et des groupes » ; les « discours, attitudes, croyances personnelles constituées de significations sociales ».Ce regard pluriel, traduit dans des grilles de lecture pertinentes, constitue des repères incontournables dont s’inspirent des chercheurs confirmés dans leurs analyses, des étudiants en sciences humaines et sociales dans leurs travaux universitaires et des praticiens dans l’intelligibilité de leurs pratiques professionnelles. Ce dont témoignent les réflexions, les analyses et les postures tant théoriques qu’épistémologiques et méthodologiques des contributeurs à cet ouvrage qui lui est dédié.
A sketch of the International Monetary Fund's 70-year history reveals an institution that has reinvented itself over time along multiple dimensions. This history is primarily consistent with a ..."demand driven" theory of institutional change, as the needs of its clients and the type of crisis changed substantially over time. Some deceptively "new" IMF activities are not entirely new. Before emerging market economies dominated IMF programs, advanced economies were its earliest (and largest) clients through the 1970s. While currency problems were the dominant trigger of IMF involvement in the earlier decades, banking crises and sovereign defaults became the key focus after the 1980s. Around this time, the IMF shifted from providing relatively brief (and comparatively modest) balance-of-payments support in the era of fixed exchange rates to coping with more chronic debt sustainability problems that emerged with force in the developing economies and have now migrated to advanced economies. As a consequence, the IMF has engaged in "serial lending," with programs often spanning decades. Moreover, the institution faces a growing risk of lending into insolvency; this has been most evident in Greece since 2010. We conclude with the observation that the IMF's role as an international lender of last resort is endangered.
This article examines the different ways that anti-Semitism and Zionism have confronted and influenced one another through a tension-filled dialectic that is simultaneously self-evident and ...counterintuitive. The essay begins with a discussion of the central place of anti-Semitism in canonical Zionist texts such as Leon Pinsker’s Auto-Emancipation and Theodor Herzl’s The Jewish State. Both Pinsker and Herzl believed that anti-Semitism was a permanent or immovable force, and this interpretation of anti-Semitism led them to embrace, if not create, political Zionism. The following section analyzes the works of two émigré scholars, Salo W. Baron and Hannah Arendt, who wrote fervently about the need to avoid “the lachrymose conception of Jewish history” and the school of “eternal antisemitism,” and to focus instead on the actions that Jews undertook as historical actors in specific contexts. Despite their influence, the study of anti-Semitism over the past two generations has returned to a perspective that is strikingly similar to traditional Zionist interpretations. The penultimate section of this piece delineates how two historians in Israel, Shmuel Ettinger and Robert S. Wistrich, reinforced and reaffirmed key aspects in this interpretive paradigm, including anti-Semitism’s unique nature as “the longest hatred,” the recurrent abandonment of the Jews by their neighbors, and the strange, befuddling, and problematic relationship between anti-Semitism and Zionism. The essay ends with a discussion of the different ways that anti-Semitism and Zionism continue to interact with and influence one another, in particular through current debates in and between the public and the scholarly realms regarding “the new anti-Semitism.” The article concludes by suggesting that scholars return to the contextual-comparative approach to the study of anti-Semitism as part of larger efforts to separate and insulate academic research on the topic from contemporary political considerations.
At an unknown point in his four-decade career, the Turkish artist Cengiz Çekil (1945–2015) began compiling a photographic archive documenting his life’s work. The jarring formal dissonance of the two ...practices—conceptual installations and Atatürk sculptures—points to a tension at the heart of Çekil’s artistic-political project. Where the formal features of the installations affiliate them with one set of principles (avant-gardism, political criticality), the Atatürk monuments appear, instead, as the embodiment of authoritarianism, consensus-driven art, and an uncritical political stance. In what follows, I argue that we can only fully understand Çekil’s increasingly well-known installation practice if we also evaluate his Atatürk monuments of the 1980s. This task requires reckoning with Çekil’s own dual status as an artist who simultaneously engaged in practices of avant-garde social critique—an approach informed by the work of German artist Joseph Beuys—and who was a lifelong bureaucrat-artist working in the service of the Turkish state. If Çekil’s Atatürk sculptures directly engage the aesthetic-political contingencies of their present, a militarist Turkey of the 1980s, this fact points us toward one possible reading of the installations he made during the same period: as monuments for an alternative future, idealistic counter-proposals for a time not yet arrived. If Çekil emblematizes an artist working in two artistic and political modes, we need not strike this fact from the historical record. Rather, we might inquire into the significance of this duality as a dynamizing force within his career—and, indeed, within the career of countless other twentieth-century artists who moved within institutional circuits that encompassed state-dominated art worlds. To do so requires us to leave behind conventional art histories’ enduring insistence that to be a legitimate artist one must work single-mindedly in the service of an avant-garde agenda. Instead, Çekil’s case demands a more holistic consideration of an artistic life involving not just avant-garde critique but also modes of making shaped by the presence of an authoritarian state, artistic strategies of provisionality, and the pressures of survival.
Frantisek (Frank) Lichtenberk died in a train accident in Auckland on April 29, 2015, aged 69. During a career of forty years, he made outstanding contributions to descriptive and ...comparative-historical research on Oceanic languages and to linguistic theory. He was arguably the best all-round linguist to specialize in the indigenous languages of the Pacific.
Die ,,Europäisch-jüdischen Studien" repräsentieren die interdisziplinär vernetzte Kompetenz des neuen ,,Zentrums Jüdische Studien Berlin-Brandenburg" (ZJS). Das Zentrum versammelt die wichtigsten ...Institutionen dieser Region, die sich mit Jüdischen Studien befassen - darunter die einschlägigen Universitäten und Einrichtungen in Berlin und Potsdam. Der interdisziplinäre Charakter der Reihe zielt insbesondere auf geschichts-, geistes- und kulturwissenschaftliche Ansätze sowie auf intellektuelle, politische und religiöse Grundfragen, die jüdisches Leben und Denken heute inspirieren und in der Vergangenheit beeinflusst haben. In den BEITRÄGEN werden exzellente Monographien und Sammelbändezum gesamten Themenspektrum Jüdischer Studien veröffentlicht. Die Reihe ist peer-reviewed. In den KONTROVERSEN werden grundlegende Debatten aufgenommen, die von zeitgenössischer und publizistischer Relevanz sind. Die Reihe ist peer-reviewed. In den EDITIONEN werden Werke herausragender jüdischer Autoren neu aufgelegt.
In this study, selected works by two Egyptian novelists are explored from a critical decolonial approach. Jamāl al-Ghīṭānī's (1945-2015) and Yāsir Aḥmad's (1980) novels are renditions of ...architectural transformations in Cairo's cityscape representing complex cultural mutations. Issues of cultural ex/changes and agency will be dealt with by drawing on critical approaches propounded by Aníbal Quijano, Enrique Dussel, and Walter Mignolo, among others, to challenge the exclusivity of European post/modernity. It explores "trans-modern," aspects in selected fictional representations of Cairo, a marginocentric city located in the Mediterranean rim, often considered as an "exterior" location.
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