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THE CONCEPT OF SOCIAL (IN)JUSTICE AND ITS PORTRAYALS IN TODD PHILLIPS’S JOKER

100%
ÇÖTELI S.
Communication Today
|
2020
|
vol. 11
|
issue 2
36 - 44
EN
The main objective of the present study is to reflect on the problem of social justice and the ways it is portrayed in Joker (2019, directed by Todd Phillips). A discourse analysis is used in order to identify the particular elements of social injustice and social unrest within the movie in question. Social injustices which were deeply felt within the atmosphere of the movie and the social explosion which followed social injustices instigated a social movement. Contrary to the general belief, the social movement was identified with tyranny. By designating the social movements as illegal, the movie established a type of identification which would attribute legitimacy to homicides. Being just and having equal opportunities in the distribution of societal resources come to the forefront. This ‘web’ of relations signifies the position of the individual and society vis-à-vis the state, and assures that the individual enters into the public sphere. Along with the disparity and the lack of resources in terms of equal opportunities, an individual’s attitude follows a positive or negative path in the public sphere. In the movie Joker, a world in which the concept of social justice had fallen apart was pictured. By establishing identification with Joker’s psychological disorders, the social movement which was experienced hereby was presented as a tyranny to the moviegoers. In this study, together with the analysis of the movie, the concepts of “social justice” and “social movement” will be discussed.
2
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Liliana Segre, or the courageous struggle against “indifference” and for social recognition

86%
Greco S.
Academicus. International Scientific Journal
|
2019
|
issue 19
9-31
EN
From a historical and sociological perspective, based on the social theory of recognition of Axel Honneth, this article analyzes the life course of the Italian Jewish Holocaust survivor Liliana Segre, born in 1930 in Milan, and her struggle for social recognition after her liberation from the concentration camps of Auschwitz-Birkenau, Ravensbrück, Jugendlager and Malchow. The article will underline on one side, the “spiral of misrecognition” that Liliana Segre, as all Italian Jews, has been victim of after the approval of the Fascist racial laws of 1938 and the negative consequences for her identity, such as social shame, loss of self-confidence, self-respect and self-esteem. On the other side, the article focus on the “upward spiral of recognition”, that Liliana Segre was able to realize after her return from the concentration camp. Through marriage, maternity, paid work in the labor market and civil engagement as Shoah witness, she was able to regain social self-esteem and dignity for herself and, for the Jewish people.
3

From Cow to Cradle. Mutations and Meanings of Rural Household in Post-socialism

86%
Mihăilescu V.
International Review of Social Research
|
2011
|
vol. 1
|
issue 2
35-63
EN
This article points at the path to modernization of the recent Romanian households, meaning, in this case, the out ruling of productive activities from the household’s space and time (Max Weber). A brief social history of the household (gospodărie) tries to trace back this longue durée process focusing on the shift in the work ethics from a normative model of the ‘good householder’ to an ‘aesthetisation of life’ (Max Weber) and symbolic emancipation. The main interest of the article concerns the relatively new phenomenon of ‘rustic houses’, which is less an architectural, than a lifestyle choice. Contrasted with the former ‘pride houses’ that spread all over the Romanian villages in the last decade, the peasant rustic taste seems to express a kind of return to the local and the past articulated with a modern concern for comfort and appearance: ‘rustic is traditional and modern in the same time!’ – claimed one of our informants. Rusticity thus becomes a (post)modern simulacrum of genuine peasant life. The final part of the article tries to transcend this mere semantic overview in search of its deeper and subjective motivations. In doing so, the article is approaching these recent rural households in the terms of Axel Honneth’s social recognition theory. It also suggests that, in this respect, the rustic taste expresses an existential search for authenticity.
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