Since the end of World War II, global governance has been characterized by the presence of international institutions, which are charged to pursue global justice. However, there is presently much conjecture regarding the justice of such institutions. In this paper, I introduce two main branches of global justice, namely ‘substantive justice’ and ‘procedural justice.’ Then, I apply these concepts to the World Trade Organization in order to analyse its policies, practices, and structural foundations. For an international institution that allegedly promotes economic and international trade equality, my findings are troubling.
In October of 2015, Mexican and United States news sources reported on circumstances that resulted in the lynching of José and David Copado in Ajalpan, Mexico. Hours after the brothers arrived in town, word spread of the arrival of the strangers, and a crowd approached the brothers, violently accusing them of playing a role in the disappearance of local children. The police found no reason to suspect the two brothers to be child abductors, but very few residents accepted the police verdict. The brothers were seized by the crowd and brought to the center of it, as a man doused the brothers with gasoline before setting them on fire. How are we to understand why such a horrific act of violence occurred, so that it does not occur again?
The 1960s were a time of many social and political movements representing the diverse voices and concerns amongst the fragmented American populous. The particular causes of these movements consisted of clashes between standard cultural norms that characterized American society, and communities that resisted this standard. I would posit that a substantial causal factor of these clashes was a widespread crises of human identity.
During his attempts to create American literature distinct from its European heritage, Charles Brockden Brown wrote Ormond; Or, The Secret Witness. Written and set in the 1790s in the United States, this novel establishes a recognizably Gothic plot, only to thwart the expected sexual violence by allowing the heroine to kill the man who threatens her.
In the 1960s, the second wave of feminism came crashing over America and led to the criticism of many cultural institutions that had long been bastions of sexism.
As a fantasy structure, film acts as a privileged medium to conceive of formations, including identity formations, which are otherwise unthinkable under dominant ideology.
Paul Valéry’s “Philosophy of the Dance” may have ekphrastic potential, but before suggesting that the author’s words give voice to the dance, a strong association between word and the dancer’s image must be formed.
Scholars have argued that no area of East German society more decisively formed the “socialist citizen” than education, and the monolithic nature of this socialist education serves as a testament to such indoctrination (Rodden 2002, pg. 9).
Hilda Doolittle, more commonly known by the initials H.D., merges classical mythology with personal perception in "Helen," a poetic portrait of the infamous Helen of Troy.
The first Act of Cloud 9 by Caryl Churchill takes place during the Victorian era, a period associated with social repression; this part of the play is set in Africa.
Hannah Arendt's Origins of Totalitarianism can be productively read as an historically concrete examination of and response to Heidegger's thought in Being and Time.
Works that fall within the genre of bildungsroman chart the "advancement and development of the individual," generally from childhood to, and sometimes through, adulthood (Kunz 2010).
Charles Chesnutt's collection of stories entitled The Conjure Woman, which involve the telling of past plantation stories by an elderly former slave named Julius McAdoo to a curious white couple named John and Annie, were originally published in 1899.
When the first folio edition of William Shakespeare's works was published in 1623, "it was not clear whose idea the collected volume was or even what was the precise motivation for it" (Proudfoot, Thompson, & Kastan-1998, 8), but the inclusion of two actors that worked with Shakespeare in the publication process underscores the importance of accuracy of authorial intent in the volume.
For the duration of Randolph College’s fall 2009 semester, visitors to the Maier Museum of Art are treated to a special exhibition, titled Teaching Begins Here: Recent Works by Randolph College Art Faculty.
After completing work on what would become his masterpiece, Moby-Dick or, the Whale, Herman Melville drafted a letter to friend and fellow author Nathaniel Hawthorne, noting: “I have written a wicked book, and feel spotless as the lamb” (Coffler 108).
