subjectivity

آهنگ در تقلید ادبی واقعی است در عمل نوشتن که توانایی نویسنده برای ایجاد یک جهان داستانی را بیان درک شده است.در این راستا، تخیل است که در اینجا به دنبال، ارزش جستجو را دارد. در این رابطه، روش مورد استفاده برای ساخت این تصویر، اغلب با استفاده از برخی از قطعات موجود در واقعیت است. از این رو سوال از اثری از دومی که در ادبیات، از جمله تقلید رخ می دهد. پیگیری در معنای پیرس، به این ایده از شاخص اثر انگشت. اما آنچه مرز بین جسم طبیعی است""واقعی"" و که تقلید ردیابی است؟

The importance of modernity is because of man's place as the axis of all beings and existents like God and the World, and they get their meaning and validity in the light of him. Although man has reason and freedom and he is the noble master of all creatures, in the meanwhile, he has many defects in his existence, and his accomplishments have been gradually increased during the centuries. Hence, we can say that man actually and absolutely does not have any perfection, and he cannot get his achievements perfectly. However, with changing in the relationship between man, God, and the world during the modernity age, the whole of man's approaches to God and the world changed, and this brings about some basic problems and crises. In this process, man gained and acquired a kind of genuineness and principality towards God and the existents of world that their place and importance, especially divine truths like God, were defined in the light of human epistemic abilities and their validity were depended on human knowledge. Hence, the place of divine truths was lowered to the limits of human understanding, which I call it the humanization of divine truths. On the other hand, because of his weakness for understanding the divine truths, man has gradually put them aside from his philosophical thought, and has recognized them meaningless. In the meanwhile, he has tried to understand the empirical world and its managing without considering what is beyond it. I call this demystification of the existents by the other areas such as ethics, politics, and even science, which all of them have been depended on the human being. Consequently, certainty and truth became humanistic, that is, man became as the axis of certainty and truth, which the most important result of that is the relativity of certainty and its restriction to human knowledge, will, and ability. This paper tries to discuss the above subjects, considering some of the important thinkers of modern and postmodern philosophy like as Descartes, Kant, Nietzsche, Sartre, and Heidegger. It also attempts to show that although Heidegger complained to subjectivism and modernistic approach of truth, his effort to redefine truth and certainty was not successful and could not rescue it from a crisis. That is because he could not go beyond human understanding to reach a holy and absolute certainty and truth, while – according to this paper – the only real way is paying attention to divine certainty, revelation, and God.

In the present paper, a translational model to psychoanalyze the cyberspace is presented with the argument that cyberspace is a translated version of human unconscious that projects both our unfulfilled desires and suppressed anxieties. This Freudian-based line of argument is followed by Lacanian (1950s)and Zizekian (2004) psychoanalysis to problematize the digitalization of Oedipus complex and the dialectic of castration and subjectivity within the cyberspace. By adopting a fuzzy logic-based approach, it is argued that cyberspace has both a panopticon-like and synopticon-like structure. The former is Oedipal in that it induces a sense of paranoia in the subjects and makes them symbolically castrated, but the latter is anti-Oedipal in that it promotes indeterminacy and pushes the subjects to the climax of self-subjectivity and subversion of the Oedipally determined identities. This is a counterargument to Zizek’s (2004) strong view that cyberspace is essentially anti-Oedipal, a transition from the symbolic castration structure to post-Oedipal libidinal economy. The central argument of the paper is that cyberspace is the realm of both the Imaginary and Symbolic Orders where both the pleasure and morality principles are at work and access to the Real Order is maximized.

Eugène Ionesco in his play, The killer (1960) depicts a true reflection of the human condition; he depicts the images of life and death, being and non-being, and the reality of man’s reduction into the cypher of non-being. He wants man to come to grips with his true situation; hence, man's existence is fundamentally a conflict between the infinite extensions of the human urge as opposed to the necessary and limited state of being. The aim of this paper is to examine Ionesco's ideas on the loneliness of man in this alienated universe, his hidden anxieties and his struggle for survival within an Existential framework of Søren Kierkegaard; examples are drawn from The killer (1960) in order to fully examine Ionesco’s particular vision of life. Such a study aims at bringing about a realization and understanding of the conditions man is exposed to in the universe. It is too hard for Bérenger to believe that nothingness precedes, envelops, and conditions all being. He faces the two coexistent side of living: in felicity and in the shadow of death.

This paper aims to study the process of identity shaping of a teenager in a family from the perspective of Subjectivity theories. The process of identity formation has been one of the main concerns for various critical approaches in human sciences in general, and the psychoanalytical and Marxist approaches in particular. The case study of the present research is the character of Alyosha from Andrey Zvyagintsev’s film, Loveless (2017). Since there is no particular theory for the contentual analysis of Film, critics in the analysis of the films’ content, take advantage of various literary, sociological and psychoanalysis theories. Therefore, the Conceptual Framework of the present study concentrates on the critical approaches of Structural psychoanalysis and Structural Marxism; particularly definitions of the Unconscious, Repressed Desire, the Name of the Father by Lacan, the Ideology, ISAs, RSAs by Althusser, and the Žižekian concept of Lack of Language. This investigation in the process of identity formation can play a significant role in demonstrating the covert motives of the character’s suicidal act. It will illustrate the way Alyosha as a subject inherits his parents’ repressed desires and lack of language caused by ideology. The application of considering concepts indicates the central role and inevitable impact of the familial discourse at the emergence of subjectivity within the family.

The present study attempts to demonstrate how different texts with various author attitudes depict the oppressed subjects of Stalin’s time.  For this purpose, Roland Barthes’ notion of ‘Modes of Writing’ and Michel Foucault’s concept of ‘author’ are employed in reading Alexander Solzhenitsyn’s One Day in the Life of Ivan Denisovich (1963) and Julian Barnes’ The Noise of Time (2016). The two novels mainly address the politically subjected characters in the Stalinist regime with different standpoints of author figure. Originating the authors’ modes of writing in the mentioned texts, on one hand, and the analysis of author-function, on the other, shall satisfy the comparative tendencies in this research and show how these theoretical frameworks can help a critical understanding of the texts. The subjects described in these novels, although similar in their situations and characteristics and subjected to the same institution of power, are narrated from different author roles and provide a somewhat similar subjectivity. The author figure as a subject of ideology and the text as a created object of an author can be thoroughly analyzed within the proposed theoretical framework; therefore, the main objective of this paper is to explore the depicted subjectivities of similar subjects from different standpoints of distinguishable author figures.

When the threat posed by the digitalization of our lives is debated in our media, the focus is usually on the new phase of capitalism called “surveillance capitalism”: a total digital control over our lives exerted by state agencies and private corporations. However, important as this “surveillance capitalism” is, it is not yet the true game changer; there is a much greater potential for new forms of domination in the prospect of direct brain-machine interface (“wired brain”). First, when our brain is connected to digital machines, we can cause things to happen in reality just by thinking about them; then, my brain is directly connercted to another brain, so that another individual can directly share my experience). Extrapolated to its extreme, wired brain opens up the prospect of what Ray Kurzweil called Singularity, the divine-like global space of shared awareness … Whatever the (dubious, for the time being) scientific status of this idea, it is clear that its realization will affect the basic features of humans as thinking/speaking beings: the eventual rise of Singularity will be apocalyptic in the complex meaning of the term: it will imply the encounter with a truth hidden in our ordinary human existence, i.e., the entrance into a new post-human dimension, which cannot but be experienced as catastrophic, as the end of our world. But will we still be here to experience our immersion into Singularity in any human sense of the term?

The present paper seeks to view language through the prism of gender as social practice as delineated by Judith Butler. Following up on the notion of gender as an entity distinguished from biological sex, she tends to base the notion on a set of normalizing practices that determine gender identity. For so doing, she believes that gender is discursively made or constructed performatively. In her view, the social discourse aligns economic power with a manly power structure where women are dismissed altogether. On the other hand, social and linguistic structures are closely inter-related and serve to perpetuate the dominance and imposed gender identity the latter one of which is actualized through imitated performativity. The article also explores dimensions of gendered practice regarding subjectivity and repression. Butler’s views, though quite intriguing for post-structuralists and postmodern scholars, have been criticized on the grounds that it fails to empower women, follow a political agenda, promise any moral basis.

Qualitative information security risk assessments are somewhat subjective and the high degree of subjectivity associated with the perception of risk means that management is often skeptical of risk analysis results, and is unwilling to make important decisions based on that. Besides, the process of information security risk assessment is quite complex and rife with uncertainty and without taken into account the uncertainty of information security risk assessment the results can be misleading. Therefore, in this paper, the Fuzzy Multi Criteria Group Decision Making (FMCGDM) model is proposed to address the above-mentioned problems. The focus group method used to identify risk parameters and the Delphi method is used to construct a hierarchy for risk parameters. The findings of this research would be useful for the information security department to become more capable in analyzing the InfoSec risks and reducing the consequences of subjective assessment. A case study involving an actual information security risk management project was presented to illustrate the use of the proposed model. Computational results demonstrated the efficiency and effectiveness of the presented model that can assist InfoSec risk analyst to better evaluate InfoSec risk.

The renaissance and the postmodern era provide two interesting periods for discussion. The renaissance can be viewed as the early modern period prefiguring the contemporary world. Thus, the two aforesaid periods can be connected to one another. This comparative study discusses two works: one from the early modern period and the other from the postmodern world. Shakespeare’s Hamlet (1603) and Sarah Kane’s 4.48 Psychosis (2000) provide the material for a discussion on the treatment of the Other as conceived by the philosophy of Levinas in his Otherwise than Being or Beyond Essence (1978). In the spirit of brevity, the central events of the plays and the most suggestive dialogue are discussed. One of the most pertinent concepts in Levinas’ ideology is responsibility which is required for the transcendence leading to subjectivity. It is concluded that while in Shakespeare the unethical mostly die, thus ending their torment, the fate that awaits Kane’s characters is much more dire; they are left battered and bruised, corporeal shells of Beings, paralyzed in time and unable to transcend Being towards the Other. As such, it is seen that the postmodern treats unethical Beings much harsher compared to the early modern.

The present study argues the relationship between the media’s power and the reconstruction of subjectivity in Zubaida’s Window, a novel by Iqbal Al-Qazwini. It is a description of the tortured psyche of the exiled woman and her attempts to reconstruct her displaced subjectivity among different versions of media’s Baudrillardian simulacra and to distinguish reality from unreality. Media’s depictions of death and war’s destruction can generate xenophobia among natives who may blame immigrants for their social problems and disturbing spatial harmony. Qazwini re-emphasizes that xenophobia can destroy an immigrant’s self-perception and trigger the preference for death. Moreover, the hyperreal versions of truth and ignoring the subaltern’s voice and revelation affect an immigrant’s mentality negatively and persuade her/him to prefer loneliness and death to have social interactions. This article focuses on the significance of media in the reconstruction of subjectivity, intensification of anti-immigration views, and the dark sides of modern war based on the interrelated theories of David Miller and Derek Gregory. Considering the issues of compulsory displacement and territoriality, Miller focuses on the ethical/political dimensions, while Gregory examines the causes of armed conflicts and geopolitical factors. By applying such an interdisciplinary approach, the researchers investigate Zubaida’s mental downfall, her failure in the reconstruction of subjectivity, and her inability to reconcile different self-images. This article examines her ceaseless effort to reverse the colonial power of media by adhering to her homeland’s memories, or watching her country’s news through TV’s representation, or ignoring spatial interactions, and lack of interest in self-renovation.

This paper aimed to critically investigate Kazuo Ishiguro’s Never Let Me Go, in terms of Louise Althusser’s concepts of ideology and Interpellation. Kazuo Ishiguro’s sixth novel, Never Let Me Go, explores the tragic condition of clones living in an imaginary England of the late 1990s. Out of the parts and pieces of the main character’s fragmented memory and unclear descriptions, the reader finds out that Kathy and her friends are clones created to give certain vital organs to ordinary people. However, the main characters in this dystopian novel are not looking for emancipation, and very little could be observed in terms of resistance or objection. Applying Althusser’s theories of ideology and interpellation, this study tried to discover the reasons for the characters’ passivity and submission. The findings showed that certain beliefs and values despite being shockingly violent were internalized, naturalized, and justified in the decisive ages of childhood through the dominant ideological system. Moreover, the effect of educational system as one of the most important ISAs (Ideological State Apparatus) in interpellating the individual characters into subjects is analyzed in this novel.

The paper concentrates on the philosophical discourses of four thinkers – Soren Kierkegaard, M. K. Gandhi, R. D. Ranade and B. R. Ambedkar on Ethics and Religion. Soren Kierkegaard, whose journey in philosophy made him pass through the aesthetic stage to ethical stage and ultimately religious stage landing in the realm of “faith”; where an individual arrives at without any rational commitment. M. K. Gandhi, whose journey in life encompassed politics, economics, and social realms where the underlying paradigm has always been religion. He did not consider ‘truth’ and therefore ‘morality’ as segregated from religion. R. D. Ranade, while mentioning the criteria of mystical experience, very empathetically mentions that a mystic (a saint) has the element of universality, is intellectual, emotional, has the intuitive experience of ‘spiritual realization’ and cannot be devoid of morality. B. R. Ambedkar, instead of accepting Christianity or Islam, consecrated into Buddhism; that befitted Indian contextual situation critiquing the popular Brahmanism, believed that religion must be in amalgamation and consonance with reason and scientific temperament. And this criterion was fulfilled by Buddhism (indeed with other criteria).  His adopting Buddhism was more of a political movement rather than spiritual; therefore, his Buddhism in the transformed format, is called Neo-Buddhism. The research article concludes by comparing these masters’ views and ideologies in the context of ‘a possibility of ethical religion’ that has appealed my conscience. 

Commentators oft cite the rather grand claim that for Hegel there was no concept of individual personality, subjectivity nor personal autonomy in Ancient Greece. Hegel’s claim is either taken as orthodox and making sense in the Hegelian historical system as a whole and so little discussed; or is flatly ignored as the worst kind of metaphysical obfuscation; a response a little too comfortable for liberal thinkers. Neither reaction is entirely satisfying. Not enough attention has been paid to it, especially for the vast majority of social and political thinkers who would find it at least contentious, so the present paper aims to assert its significance both for Hegelian politics as a whole and to pay enough attention to it in order to make it very difficult for those who find it a contentious statement to continue to ignore it. One wants to ask what it might mean for one’s self-understanding to be so radically different that, as a human being, I understand myself as first and foremost (and perhaps completely) not as a subjective individual. It is conceptually very difficult to be a self-conscious individual -- in even a minimal sense -- without some idea of being an atomic, individual unit. It is the claim of the following argument that a full understanding of this distinction, between ancient and modern self-understandings, would lead to a revision of Hegel’s liberal credentials, though not entirely for liberal reasons.

Modernist literature decidedly experiments with such modes of discourse representation as free indirect discourse (FID) to highlight the subjective nature of reality and reflect the estrangement of the modern subject. Accordingly, an analysis of discourse representation has proved to be integral in exploring Modernist narratives. The discourse representation in movies, however, has received little attention from film narratologists. After an overview of discourse representation in literature and film, the present paper examines Virginia Woolf’s modernist masterpiece Mrs Dalloway (1925) and its cinematic adaptation of the same title by Marleen Gorris (1997) and its interconnectedness to present characters’ subjectivities. The basic claim of this study is that the (free) indirect discourses of the novel are turned into free direct discourse in the movie using the technique of internal sound or flashback. Although there are instances of internal focalisation in this movie, they are so disjointed or short that the dominant discourse remains that of the narrator. Therefore, the findings of the present essay demonstrate that Gorris’ film is not creative enough to bring about effects equal to or beyond those produced by Woolf’s or reproduce the underlying forces of “difference” at play in Woolf’s text.