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‘Are you still my brother?’

In this study, the various aspects of the way the Jews regarded themselves in the context of the lapse into another religion will be researched fully for the first time. We will attempt to understand whether they regarded the issue of conversion with self-confidence or with suspicion, whether their attitude was based on a clear theological position or on doubt and the coping with the problem as part of the process of socialization will be fully analysed. In this way, we will better understand how the Jews saw their own identity whilst living as a minority among the Christian majority, whose own self-confidence was constantly becoming stronger from the 10th to the 14th century until they eventually ousted the Jews completely from the places they lived in, England, France and large parts of Germany. This aspect of Jewish self-identification, written by a person who converted to Christianity, can help clarify a number of

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Individuality, identification and multidirectional memorialisation in post-genocide Rwanda

lovely spectacle.’ Plato, The Republic Introduction The moment of interaction between the corpse and the living subject has been profound since some of the earliest moments in literary history, possessing a unique intensity borne of the complex processes of identification at work in the instance of their meeting. In the words of Diana Fuss, self-​identification is ‘the psychical mechanism that produces self-​recognition … the play of difference and similitude in self–​other relations … the detour through the other that defines a self ’.1 Self-​perception, in Fuss

in Human remains in society
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Romances, novels, and the classifications of Irish Romantic fiction

wholesale manner’. 16 The late eighteenth-century literary gothic's oscillation between terms – ‘romance’, ‘novel’, ‘historical romance’, ‘tale’, ‘story’, ‘history’, etc. – makes clear the essential indeterminacy of formal and generic borders in this period. As a form of self-identification in an atmosphere of ongoing, often heated discussion about the worth of prose fiction, these terms held an importance often overlooked in current references to texts by shortened titles that exclude meaningful generic categorisations contained in subtitles. It is not insignificant

in The gothic novel in Ireland, c. 1760–1829
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British masculinities, pomophobia, and the post-nation

of masculinist and nationalist discourses within a patriarchal context and, moreover, to disclose the representational symptoms of these discourses’ critical decline as interpellative models of successful self-identification in post-imperial Britain. Finally, shifting its focus to a discussion of masculine modes of self-representation in contemporary Scottish men’s writing, the essay highlights the utopian potentialities of subnational emancipation; at the same time, it questions the ultimate political viability of any devolutionary attempt to move beyond

in Across the margins
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Becoming an “old maid”

institution; she would be hospitalized for her singleness and I would be hospitalized for my unstable mental state. (ibid.) Attesting to the powerful force of binding age norms, Rotem first situates herself as a thirty-something content single woman. By this, she acknowledges the stigma of the thirty-something miserable single woman, and aims to defiantly subvert this age-based symbolic order. Furthermore, the stigma is transformed in her case into a positive form of self-identification and alters the controversy surrounding that very symbol. Rotem’s statements pose an

in A table for one

and affirming in each other a shared sense of social being – that of having their existence and identity as mediated and realized through each other and through their collective political form in the sense celebrated by Aristotle's Politics ( 2001 ). That is, recognition between free citizens is an ethical relation whereby through the self-identification of self-other as

in Recognition and Global Politics
Dr Williams’ Pink Pills for Pale People and the hybrid pathways of Chinese modernity

clean geographical and teleological narratives about cultural influence and historical progress. Spanning several decades, the advertisements for Dr Williams’ Pink Pills in Shanghai clearly demonstrate how the transmission of a Western product resulted in the creation of culturally hybrid modes of expression and self-identification, producing a deftly accommodating visual and linguistic vocabulary. While excoriated and dismissed in Northern America and England, the product's counterintuitive survival in Shanghai seemed to lend truth – psychologically, if not medically

in Progress and pathology
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with your self-identification – there are many forces going on behind people assigning themselves (or others) a class which may not match up to a schema or concept of class that the sociologist might agree with. Indeed your non-­sociologist neighbour might also not agree with your self-identification as there are conflicting lay understandings of class and its markers. Sayer (2005: 1) suggests that class talk is emotional and evaluative: ‘[c]ondescension, deference, shame, guilt, envy, resentment, arrogance, contempt, fear and mistrust, or simply mutual

in All in the mix
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Association and distinction in politics and religion

policies of destruction of both life and culture. The actions of twenty-first-century religious leaders, such as those of Islamic State, stand in a long and destructive tradition in both secular and religious government and attempted government. When a person has identified himself or herself as a channel of divine truth or of human utopia, one road which opens is the physical destruction of all opposition, and all opponents. Privacy in the self-identification of elites Much discussion of identity presents it as

in Cultivating political and public identity
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An introduction

transform its critical potential and position with regard to contemporary culture. In the light of this, we want to put the case that it might be time for a new aestheticism. This is not to argue that the critiques of aesthetics carried out under the various banners of theory are wrong or misguided. Of course the unmasking of art’s relation to ideology, historical and political context, self-identification, gender and colonialism are immensely important for contemporary thought and politics. It is impossible now to argue that aesthetics is anything other than thoroughly

in The new aestheticism