This paper explores iconicity in the metrical structure and the cultural value of Artistic Chinese calligraphy along the lines of Carles S.Peirce’s theory. It drawsattention to the fact that there is a simple categorical correspondence between the outer forms of Artistic Chinese Calligraphy and their subject-matter, presenting it a mixed form of representation, based on resemblances but also creating its own metaphysical meanings simultaneously.

The aim of this paper is not to focus on a particular thematic issue of Aesthetics, offering an exhaustive approach of it, but to display a broader map allowingto capture the essence of this topic from an overall perspective. To achieve it, I have paid attention to a number of points that will help to place Aesthetics in historical terms in the context of 18th century Great Britain. In this vein, I have addressed certain pillars deemed crucial in understanding Aesthetics, such as the socio-historical background in which it emerged, the meaning of this field of study, its main theoreticians and its three most important aesthetic categories. Finally, I close the paper by drawing some brief conclusions.

Global era is an era of acculturation which may surface difficulties due to the tendency of becoming global chaos that may influence people’s thought. Everyonehas their own views and has made changes with their own worldview perception; hybrid and heterodox. Changes without wisdom will eliminate local elements.This phenomenon has influenced myriad forms of visual composition and architecture of Bali Madya dwelling. Balinese culture has gone through various changes since Rsi Markandeya in the 9th century, Empu Kuturan in the 10th century and Danghyang Nirartha in the 14th century. They changed many dwelling arrangements in architecture. Changes do not mean that one has to demolish the local indigenous elements but, instead, should attempt to develop various indigenous elements with the intention that the visual interior and architectural compositions have their own distinctive characters. In relation to that, aesthetic image and traditional space concept will be arranged in various kinds of acculturation in global visual forms. The dwelling space of Bali Madya concept was acculturated from the Bali Aga’s space concept during the era of Majapahit. This research is based on aesthetic and historical approach that stressed on the artistic aspects and design that are associated with aesthetic appeal. The analysis was done using observations of form and function including the meaning of space composition which was arranged to produce a proportionate composition with local images.

Value-sensitive design conceived as an a priori process is necessarily uncompleted, because the foresight needed to accommodate competing values in trueaccord with consumers’ (ever-evolving) wishes is simply unavailable ab initio. True value-sensitive design is, instead, an ongoing process of market discovery which is evolutionary in nature rather than a priori. We illustrate this generality with the landline telephone.

A framework for thinking about the social role of art is developed. Using economic ideas, art is depicted as a capital asset – something that provides insight tosociety over some period of time. The idea of thinking about art as an asset enables a concrete distinction between high and low art, as well as the possibility that art can “race to the bottom,” with low art displacing high art, with the concomitant deleterious consequences.

The evaluation of subjectivity and the birth of aesthetics represent the presuppositions of the modern idea of civilization, intended as an endless progress ofsociety. In the contemporary world, the degeneration of subjectivity into narcissism and aesthetics into intimism has destroyed the productive relationship between individual sentiments and society, leading to the phenomenon of neo-cynical decivilization.

This paper aims to explore the notion of algorithmic culture in relation to new media and electronic literature. Such a culture considers human as being immersed in smart technology, which with its code and algorithms defines individual’s behaviour and decision-making, modes of socializing and participation, experiencing and perception. The following lines unveil the paradigm shift that involves semiotic crossings between human and machine languages. In order to do so, it addresses some crucial particularities of the emerging field of electronic literature.

The events of 9/11 have underlined the relevance of the thought of Georgio Agamben in so far as he attempts to explain the genesis of an authoritarianism that increasingly implements extraordinary measures and enhanced surveillance. This can be understood in terms of the expansion of a biopolitical regime. Biometric analysis: finger printing, iris and retina scans etc., are to be understood in their relation to the individual as bare life, the individual stripped of his/her political legal identity and thus identified without reference to the latter. The camp, according to Agamben, is said to be the ultimate space, a lawless zone, wherequestions of legality and illegality become irrelevant. However, this paper argues that Agamben fails to underline the importance of the Cartesian legacy that initiated a form of conceptualization in which the ordering of reality replaced qualitative distinctions with mathematical quantification. Biometric analysis, which relies heavily on mathematized quantification of biological features, is integral to the biopolitical regime, as described by Michel Foucault and Agamben. This paper argues that a rejection of this Cartesian inheritance is necessary if we are to overcome insidious forms of control based on surveillance, biometric identification or even managerial oversight through supposedly quantifiable metrics of performance.

This essay situates the debate on the philosophy of indigenous thought systems within the context of postcolonial theory. I argue that postcolonialism is areinvention of preexisting indigenous philosophy. Beginning from the late 1960s into the early 1970s a seemingly new wave of thinking was theorized by scholars as postcolonialism. Today, its popularity is evident in the many academic fields that have adopted and adapted it as an instrument of scholarly inquiry. In this essay, I argue, using Akan proverbs, that postcolonialism is not a new philosophy.

In his 1987 novel Foe, J. M. Coetzee re-introduces the figure of Friday, a speechless cannibal, who is Robinson Crusoe’s slave and who allegedly had histongue severed by slave-traders. Evidently, Friday’s bestialization and his peculiar position within the narrative are inextricably linked to his status as a nonspeaking character. In contrast to Susan, Coetzee’s “failed narrator” (MacLeod, 2006: 6), Friday narrates nothing in the novel. Hence, his silence can be seen as a site of resistance to the oppressive power that tries to define him, marking the limit of a language and a literature that seek to place him within western logocentrism. Thus, the enigma of Friday and the enigma that is Friday, are the major axis around which the novel and all relationships within it unfold. Susan’s -and by extension, Coetzee’s own- inability to interpret Friday’s silence does not incapacitate the narrative but quite the contrary: it is only through her (and Coetzee’s) productive failure to determine, to identify and to define the figure of Friday that Coetzee is able to restore agency and meaningfulness to Friday’s silence, opening up its void to the possibility of a restitution (and a justice) to come.

In recent times, African states have experienced multiple challenges. The most disturbing one is the inability to evolve a sustainable culture of dialogue that issuitable for the mitigation of ethnic conflicts in contemporary Africa. It is this failure that has generated many other problems in other spheres. These problems, inconcert, have made the socio-political space largely that of frustration, despair and disappointment. This accounts for the social design of unhealthy alliances and the basis for the affirmation of parochial primordial frivolities at the detriment of a trans-national identity. But why have the affirmation of these primordial alliancesand its attendant conflicts remain daunting, intricate and resilient, in spite of the several attempts by scholars to mitigate it? This paper argues that extant discourse of the above concern fails because it ignores the value of the conditions for the practical realisation of agreement in situations of conflict. The attempt here is to explore indigenous mediation strategies especially from the traditional Igbo speaking people in South-Eastern Nigeria in arriving at trans-national identity in Africa, which will be inclusive other than the divisive structure that has exclusive character in extant discourse. This paper, therefore, will employ the analytic-descriptive method to interrogate the above in a manner many scholars are wont to ignore. Hence, it is expected that this paper will initiate a perspective that will challenge extant interpretation of the conditions of dialogue and consequently human solidarity in African States.

This essay examines the persistent engagement with cosmopolitan inclusivity through the endorsement of indigenous sacredness in works of ethnographicfiction. I focus on Ursula K. Le Guin’s Always Coming Home, James Cameron’s Avatar, and Taiwanese writer Ming-yi Wu’s science fiction The Man with the Compound Eyes, three iconic environmental representations of indigenous knowledge. These texts illustrate how indigenous thinking has very often been transformed from place-bound, locally-embedded cultural traditions to an embodiment of Euro-American eco-spirituality that overturns both national boundaries and the humannature divide at the turn of the twenty-first century. In settler environmental narratives, the insistence on the ethnographic mode strengthens the desire for authenticity and intimacy.

Although most colonisations have been invasions of territory by neighbouring peoples with similar appearances, languages, and customs, postcolonial theoryis dominated by cases of inter-civilizational imperialism between the West and the non-West. This article argues that a new theoretical framework is needed to describe intra-civilizational colonial encounters because the psychological conflicts of the intra-civilizational colonial sphere and their political ramifications function differently to those described in postcolonial theory. Drawing on Nobel Prize nominee Richard E. Kim’s memoir of growing up in Korea during the Japanese Occupation, this article explicates the primary differences between the two forms of colonialism with reference to Homi Bhabha’s theories of hybridity and mimicry. It argues that without a visible racial difference between coloniser and colonised, hybridity and mimicry are imperial strategies of assimilation rather than native strategies of resistance and that the growth of cultural nationalism is a logical response.

In this paper, I focus on the idea of identity hybridization, assuming that multicultural models, relevant for each type of state, depend on complex historical,socio-cultural, and political contexts. This hypothesis directs my inquiry into Russia’s colonial and postcolonial past, contemplated in relation to European development as well as with similar situations in other parts of the globe. My review of intellectual discussions on the topic and of Russian Orientology in particular show that the complexity of Russian national identity can be traced back to contradictions within the process of European intellectual colonization, as well as to Russia’s realization of the Orthodox civilizing mission in its own empire. I propose the expression “secondary orientalism” to refer to the Russian situation.

This article investigates Madison Smartt Bell’s Haitian trilogy as a neocaptivity narrative that combines in new ways the conventions of the slave (captivity)narrative and the Barbary captivity narrative. Furthermore, it examines the culture-crossing of the character of Doctor Hébert in the course of the successful slaveuprising of Saint Domingue (1791-1804). Captivity, I argue, constitutes the central theme and structuring device and also triggers Hébert’s culture-crossing in a reversed Hegelian master-slave dialectic that needs to be read together with Riau’s enslavement. Lacking the social recognition of a free subject, Riau attains his independent self-consciousness through physical resistance and Saint-Domingue’s distinct black culture. Whereas Hébert learns to actively resist slavery as he crosses over into the Haitian society. In their struggles, both undergo the three phases (preliminal, liminal, post-liminal) of rites of passage.

This paper intends to highlight how the Kazakhs, the indigenous ethnic group that emerged as the leading subject of society in Kazakhstan after independencefrom the former Soviet Union, reclassify and remodel their self-culture in the new socio-political context. Despite the craving for resuscitating the Islamic tradition,shrunk under colonial domination, rather the indigenous folklorized Islam came to be classified as a pure national tradition under the fear of radical Islamism,causing the exclusion of the orthodox Muslims. This paper looks at hijabed Muslim women, considered to be outside the reclassified boundary of national tradition, and efficiently controlled and marginalized by the discourse produced by the ruling powers. The authors include field research and interviews from a number of participants, making visible the strategies of exclusion and the political narratives constructed around what people should remember and learn. These narratives recollect forms of imperialism which continue to be, in one way or another.

In the hyper-mobile world of today, the industry of tourism and cultural entertainment, witnesses the multiplication of opportunities to travel. According toJohn Urry, we inhabit mobile cultures where being kind to strangers is a positive cultural value. This reality archives the bloody past of hospitality, which from theideological fields facilitated, for instance, the conquest of the Americas. In the present discussion, I delve into the world of literature and explore Viaje a caballo por las provincias Argentinas [Journey on horseback across the provinces of Argentine] a work originally written by William Mac Cann, a British businessman who visited the country between 1947 and 1948. His observations not only reveal the collective patterns of behaviour that have remained part of daily life up to date. The volume describes the attempts of an elite interested in creating a united, but subordinated, image of society, and illuminates the diverse mechanisms of imperial expansion. Hospitality plays a crucial role in the hierarchy of travellers presented in the book, with some belonging to the higher classes of society and others unnamed.

This contribution is devoted to frontier theory, the analysis of its conceptual apparatus as well as its topical issues and practical application. We propose a revision of this theory, and confront the usefulness of the term “frontier” with other the similar concepts such as border, boundary and limit. The paper alsoproposes a typology of frontiers characterized by various aspects; civilization, intercultural, religious, and anthropological, among other. From the standpoint ofthis discussion, the authors consider the Southern Russian bordering region of the Caspian Sea, today a much conflicted territory.

Given the increasing complexity of living in a global village, countries and regions that are parts of larger political entities frequently have considered the optionof separating or seceding an ideal solution to their problems with a larger center of power. Isolation, a form of “freedom from,” has the potential of offering themfree rein or “freedom to” manage their affairs for their own sake. Francophone playwrights and filmmakers have found the dialectical interplay between “freedomfrom” and “freedom to” fertile dramatic soil for plays and films. Some of them work in both of these and other genres. These works seem to ask the same question: Is it desirable or possible to achieve both, even in ideal isolation, without suffering cultural stagnation or repeating the abuse of power on the part of the political center that led to the separation? This article explores the answers to this question given in the plays of Aimée Césaire, Anne Hébert, and Wajdi Mouawad within the greater context for this issue found in J. M. Coetzee’s Waiting for the Barbarians and Azouz Begag’s Un Mouton dans la baignoire and in francophone films by Raoul Peck, Bertrand Tavernier, Claire Denis, Rachid Bouchareb, Ousmane Sembène, Michael Haneke, and Mathieu Kasovitz.