A Functional Framework To Balance Accountability With The Needs of International Organizations:International Organization Immunity Post-Jam

Prior to 2019, international organizations were untouchable. These larger-than-life entities touch almost every corner of the international arena. Yet historically, international organizations enjoyed absolute immunity from liability in U.S. fora

Touching Freud's dog: H.D.'s tactile poetics

"Do not touch me", Frau Emmy warns Freud in 1889. "Do not touch", Freud echoes in 1933. This time, he is referring to his pet chow, Yofi, warning H.D. that "she snaps - she is very difficult with strangers". Examining the prohibition in light of work by Jacques Derrida and Jean-Luc Nancy, this article charts the withdrawal that always interrupts touch. Despite Freud's taboo, however, H.D.'s writing seeks to make contact in strange and unnerving ways. Developing Julia Kristeva's account of the semiotic, this paper proposes a literature of touch. Reading H.D.'s poems, alongside Tribute to Freud, and her letters, the author demonstrates that H.D.'s poetics are always haunted by the very (im)possibility of contact

The impossibility of sympathy

Copyright © 2010 University of Pennsylvania Press. All rights reserved. Except for brief quotations used for purposes of scholarly citation, none of this work may be reproduced in any form by any means without written permission from the publisher. For information address the University of Pennsylvania Press, 3905 Spruce Street, Philadelphia, Pennsylvania 19104-4112.This article questions the status of sympathy in eighteenth century studies. It argues that sympathy can be seen as an economy of two persistent idealizations: the untouchable—that touches everything. Tracing the genealogy of fellow feeling as a militant Puritan concept of exclusion that is still marked by its theological and political past, the sympathy advocated by Hutcheson, Hume and Smith appears as an idealization confronted by its own impossibility. The eighteenth century is a century in search of an absent and insufficient sympathy, a sympathy that is already preoccupied with its own limitations and excesses: a meta-discourse on sympathy still eludes us

The Current Socioeconomic status of Untouchables in Nepal

Occasional Papers in Sociology and Anthropology - Volume 4, 198

A palintropic genealogy of the diaphanous exactitude of pe(n)ser

For the abstract, please see the PDF fil

The Topp Twins: Untouchable girls: The movie

The recently released documentary The Topp Twins: Untouchable Girls: The Movie (2009) has quickly become an important cultural text in Aotearoa New Zealand. It opened on April 9, 2009 and immediately broke records for best opening day and weekend in New Zealand’s movie history. For readers to get some sense of this documentary, it is worth watching the trailer (http://topptwins.com/tv-and-film/untouchable-girls) which provides a tantalising peak into the life story, so far, of the Topp Twins – much loved New Zealand entertainers. But the documentary does more than chart life stories, it highlights major social and political movements that helped shape national discourses of what it feels like to be a ‘Kiwi’ (the term ‘Kiwi’ is used by people – of all ethnicities and social classes - who feel they have a New Zealand national identity). I have chosen this documentary for this scholar’s choice essay because it links with a number of discourses that inspire my work on how emotions such as ‘pride’ shape people and place. Untouchable Girls illustrates the fluidity and partiality of subjectivities (both individually and collectively) and the ways in which subjectivities can be challenged and contested without humiliation

Outcastes in an 'Egalitarian' Society: Tamang/Blacksmith Relations from Tamang Perspective

Occasional Papers in Sociology and Anthropology - Volume 10, 200

FELIX GONZALEZ-TORRES and KEN OKIISHI: The Evolution and Representation of Experience

The two artists Ken Okiishi and Felix Gonzalez-Torres--though separated by a generation--both use physical objects to signify the loss of human presence, connection or connections. Both instill meaning into familiar physical objects such as candy, clocks, or television screens, and both are able to provoke feelings associated with the kinds of presence objects can represent – without that actual presence. Gonzalez-Torres worked during a time when digital technology was not yet an existent medium, while Okiishi worked during a time in which the technological world and its social effects are central to his work and message. In fact, a central point of his work gesture/data is to replicate our dependent relationship with technology and how people interact with the virtual world. This world is only available by viewing through a screen; it is unreachable, unlike the tangible objects, that we can physically feel, via which Gonzalez-Torres’ works often confronted viewers. These two artists demonstrate stark, pivotal generational differences: a world and society before technology, art before digital technology (Gonzalez-Torres), and the effects and experiences of art in a world engulfed by such technology entirely (Okiishi). One relies on physical interaction, and the other responds and relays the effects of infinite, intangible spectacles. Both speak to the importance and meaning of presence, or being, and what part that presence or absence plays in art experience during these juxtaposing time periods: before and after the Internet. In his 1967 book The Society of the Spectacle, French theorist Guy Debord wrote, “in societies where modern conditions of production prevail, all of life presents itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into a representation”.[1] Gonzalez-Torres’ and Okiishi’s artworks both could be said to exemplify this idea of evolution and generational transformation, but in Okiishi’s work, there is an increased disconnection, to the point that everything may be mere representation. This raises the question: has art changed with technology? Have we lost actual experience to mere representation? [1]Debord, Guy. The Society of the Spectacle. Buchet-Chastel, 196

SOCIAL OPPRESION IN MULK RAJ ANAND’S UNTOUCHABLE

This is a study of Mulk Raj Anand’s Untouchable as the representation of social oppression. The novel shows that social oppression  is felt as  the impacts of poverty and stigmatization. This is library research and applies mimetic theory proposed by M.H. Abrams. Mimetic approach looks literary work as the imitation of natural aspects and replication of world life. The oppression which is represented by outcast characters  feel oppressed because they do not have access to public facilities, education, health service, and job. They are not allowed to use public facilities such as well, temple, road, and get good job because they are poor, considered virus and cursed. They become the victims of stigmatization, prejudice, exile, and hatre