Ambiguity

Ambiguity happens in a sentence which contains more than one meaning. Ambiguity can be caused by the ambiguous lexicon in which a word has more than one meaning and it can also be caused by the syntactic structure. Context also determines whether the sentence can be interpreted differently and become ambiguous. Ambiguity often causes confusion and it has become one of the phenomena in linguistic studies, particularly semantics. This study investigates ambiguity in creating humors in which the data were gathered from electronic sources in forms of newspaper headlines, jokes, riddles and anecdotes. The number of the data collection includes 25 cases of ambiguity. 12 sentences were lexically ambiguous, while the other 13 sentences were syntactically ambiguous. The results showed that lexical ambiguity and syntactic ambiguity were the language devices used to create puns in humor. The results also suggested that the ambiguity could be an effective source of humor when it particularly involves dual interpretations in which one interpretation gives a serious meaning and tone, whereas the other interpretation gives a humorous meaning which is not likely to occur in normal contexts.

Diplomatic ambiguity is one of the most interesting kinds of language-use in politics in general, and in diplomacy in particular. Normally, it is taken as a device that buys a temporary agreement at the price of a later verbal and interpretive conflict or misunderstanding. Prior to this study, no comprehensive or theory-guided analysis of this both political and linguistic phenomenon had been attempted. The study focuses on a number of ambiguously phrased peace-agreements, exploring three fundamental parameters in terms of which the concept of diplomatic ambiguity can be framed: language, power, and law. It proposes an argument of relevance to the most prominent schools of thought in International Relations, and closes a visible gap in the existing literature dealing with conflict, diplomacy, international politics, and discourse-related aspects of such politics. Due to its interdisciplinary character and sensitivity to the requirements of practice, it also offers an informative and practicable guide to the practitioners of international relations, diplomacy, politics, and law.

La revista Destellos cuyo primer número presentamos en
esta ocasión es uno de los resultados del Seminario de Pensamiento
en Español que un grupo de profesores fundamos
en la Facultad de Filosofía y Letras de la Universidad Nacional
Autónoma de México hace ya dos años.
Uno de los objetivos de Destellos, por tanto, es dar a conocer
las investigaciones realizadas en dicho seminario pero también
busca convertirse en un foro abierto a las colaboraciones
de diversos investigadores independientes o adscritos a
instituciones públicas y privadas, que desean presentar sus
trabajos de investigación a la comunidad académica.
Todos los trabajos que conforman este primer número han
sido seleccionados por doble dictamen ciego y se ha cuidado
que cumplan los más altos estándares académicos, aunque
sin desterrar la espontaneidad, la creatividad y la belleza de
nuestra lengua y del pensamiento.
El pensamiento en español, consideramos quienes conformamos
esta revista, es una vía de reflexión ineludible, toda
vez que nuestra lengua es puente de dialogo y cultura de
diversos pueblos y tradiciones. Además consideramos que se
tiene una deuda pendiente con amplias tradiciones y numerosos
pensadores y pensadoras, cuya riqueza se ha ignorado
bajo el falso supuesto de que solo en ciertas lenguas y países
se han hecho aportaciones significativas a la filosofía y las
humanidades.
La lengua española es una lengua que en muchas latitudes
hemos hecho propia, más allá del pasado colonial. Es una
de las lenguas más hablada del mundo y sus hablantes van
en aumento. Pese a lo anterior, en comparación con otras
lenguas, tiene un número reducido de publicaciones académicas.
Esperamos que esta revista contribuya a subsanar un
poco ese panorama.

Summary:  Balaam’s story is a strange one.  Quite apart from its account of Balaam’s dialogue with his donkey, it includes a highly irregular incident, in which YHWH tells Balaam to go to Moab and then becomes angry with Balaam when he does so (Num. 22.22).  The irregularity of the aforementioned incident has often been explained by reference to the text’s (assumed) diachronic development and accrual of dissimilar sources/theologies.

In the present note, however, I want to proffer a different analysis of the story—one which focuses not on its supposed developed, but on its final form and resonance with the wider Biblical canon.  As readers of the Biblical narrative, we know YHWH to be a God of immense power who has greatly blessed his people, Israel.  By means of 22.20–22’s irregularity, the text raises an important issue:  the issue of whether YHWH’s commitment to his people is subject to change.  It does so in characteristically subtle fashion.  YHWH issues a command which seems to represent such a change of mind on his behalf;  Balaam finds the prima facie sense of YHWH’s command convenient (and hence ‘obeys’ it);  and, soon afterwards, Balaam discovers YHWH has not in fact changed his mind—a fact which leads him to bless Israel by means of his attempted curses.  Our text thus fulfils at least two important functions.  First (discussed last), it advances the story of Israel’s election as it unfolds on the pages of Scripture.  And, second (discussed first), it teaches us an important lesson about YHWH’s manner of communication.  Ambiguity in YHWH’s commands is only apparent.  It is not the hallmark of a deity who is unsure of his mind;  it is the hallmark of a deity who wants us to engage carefully and thoughtfully with his words.

Ingeniously, then, our text functions as its own object lesson, since it puts its readers in a similar position to Balaam.  Faced with an apparently inconsistent set of commands, what will we do?  Dismiss the text as incoherent or as a mere smorgasbord of ideas (from which we are free to take our pick), or engage with its details all the more determinedly?


Key words:  Balaam, Numbers 22–24, narrative, coherence, intertextuality, serpent, donkey, animals, typology

Citation:  Bejon, J., 2019.  ‘Balaam in Light of the Biblical Narrative’ in Plērōma anul XXI nr. 1 (2019), pp. 11–38.  «http://jurnalulpleroma.itpbucuresti.ro/revista-online/», accessed 2021.

This is a presentation of Thomas Bauer's thoughts on ambiguity and ambiguity(in)tolerance, written and contextualized for an anglophone philosophical context. It contains a couple of translated quotes and passages from Bauer's 2018 treatise 'Die Vereindeutigung der Welt'.

The paper discusses various techniques of discovering and describing lexical ambiguity. This is one of the top issues in computational linguistics. A variety of techniques are used for word sense disambiguation, but all of them are based on context. Yet, studying how word senses work without context and what patterns of polysemous words could be found in speakers’ minds also seems an interesting and important issue. The main approaches to WSD with or without context (in narrow and broad sense, including the situational context) are evaluated. The importance of corpora in discovering word senses is substantiated. New experimental data are presented, which allow defining subsets of senses for polysemous words for different speakers and rating the senses in the dictionary. Finally, the paper proposes to distinguish between absolute and relative polysemy and to search for ways of their adequate lexicographic description.

How can we become sensitized to the other? One way—Levinas’ example—is with a kiss, with the ambiguity of a kiss that exposes us to another kind of sensibility, makes us susceptible to the proximity of the other, vulnerable to the trace of an absence qua absent, the approach qua approach. And this is a praxis that resists the history of philosophy’s attempt to disambiguate the kiss, and that steps back from the desensitized violence of translating the saying of an infinite alterity into a finite said. For the ambiguity signifies that which metaphysics as onto-henology cannot think, namely, the other of being, and the kiss that is otherwise than being. But if we are to become sensitized to such an otherness, it is by kissing in such a way that we—taking a clue from what Levinas finds in language—think the verbality of the verb, that is, the diachronic tense and incomplete aspect of the kiss. We sensitize ourselves thereby, to a way of kissing otherwise, a praxis that allows the ambiguity of a kiss to signify, not merely the presence, but far more the absence of the other—and verbalize thereby, the otherness of the other. Or does it? For the ambiguity of the kiss could also imply another way of verbalizing, one in which the verb is neither present nor absent, but implied—and this sensitizes us to a way of kissing that suspends the presence and absence of the one who is supposed to be kissed, and suspends the act of kissing itself, even suspends any possibility of sensitization whatsoever. We are then left with the problem of kissing, and that which is implied by the ambiguity of the kiss.

Being is neither a being nor a concept; rather, it is an essentially ambiguous universal. Being’s ambiguity allows us to understand both why it withdraws from thought and why there is something rather than nothing. The problem for philosophy then becomes: How can we think the original ambiguity of being without disambiguating it? Heidegger’s answer - ironically or not - is by not thinking it.

In this portfolio of compositions, I have explored the concept of musical ambiguity. I perceive this kind of ambiguity as an interesting and purposeful instability, created by employing a variety of techniques to arrange and manipulate complex compositional materials. Interrupting the narrative flow with unexpected, disturbing fragments should increase the expressive tension of the musical structure and narrative, thereby obliterating ‘habitual’ hierarchies of perception and eradicating a false sense of stability in the listener. My techniques include the simultaneous juxtaposition of several aural ‘viewpoints’, such as dense versus lucid textures, as well as the fragmentation and repositioning of chosen elements. In the analyses of my compositions I have made use of some ideas and terms from the visual arts, architecture and philosophy to clarify my arguments.
Every musical element from tonality, texture and rhythm to structure and narrative is questioned and reinterpreted by means of fragmentation and juxtaposition with the aim of creating layers of textures and timbres. Prior to this treatment, a composition is generally begun with a musical idea, derived from my mental ‘sound library’, which already alludes to timbre, instrumentation, atmosphere, modality and provides motivic impetus. Furthermore, a lively collaboration with musicians plays an important role during the compositional process and has enabled me to find my own voice through the shaping of the experimental materials into the two orchestral works, a few ensemble pieces and solo works.

Here Haack tackles two questions: what can be meant by speaking of "naturalizing" epistemology, and how should belief be understood in a modestly naturalistic epistemology? As always, Haack makes numerous important distinctions; as always, she looks at the history of key ideas; as always, she offers constructive suggestions.

This essay examines an instance of media activism by members of a Karachi-based organization run by and for nonnormatively gendered people who are known as khwaja siras (also khwaja saras). By providing both ethnographic analysis and a genderqueer feminist reading of the group's strategies for resisting categorization and surveillance through practices of gender ambiguity, this essay argues for the potential of khwaja sira politics to produce radical subjectivity.

A study of peculiar features of Heraclitus' language and style that combines formal analysis with a special emphasis on their philosophical implications relating to the philosophy of language, metaphysics and epistemology. The following 10 topics are discussed:                                                                                                                                                                  1.  Anсient critics on the "obscurity" and "ambiguity" of Heraclitus' style……….43
    2. Syntactic polysemy. Asyndeton………………………………………………..44
    3. The omission of the conjunction καί  ‘and’ between the opposites……………49
    4. The use of connective particles………………………………………………...51
    5. Ellipsis of copula: the omission of the verb ἐστίν in certain contexts…………51
    6. The use of the article……………………………………………………………53
    7. Pluralis poeticus (or philosophicus?)…………………………………………...54
    8. Folklore elements. Proverb, parable, riddle……………………………………54
    9. Fränkel's “proportion”………………………………………………………….55
    10. Chiasmus……………………………………………………………………….57
It is argued that in most cases  the peculiarities at issue cannot be reduced to rhetorical or stylistic devices, but are grounded in a serious philosophical work and experimental attempt to reform the ordinary language, i.e. to bring it in line with physis, the objective order of things. The regular omissiοn of the verb "to be" (ἐστί), of the conjunction καί ῾and῾ between the opposites,  and of articles in the "cosmic" fragments relating to the cyclic interchange of opposites, is a linguistic implementation of the metaphysical doctrines of identity (and lack οf substantiality) of opposites and of Universal flux in the phenomenal world of plurality.This fact proves once again that the doctrine of the Universal Flux is a genuine doctrine of Heraclitus and not Plato's invention. In the last section several types of chiasmus in Heraclitus are distinguished and compared with the  ring-composition in Homer and archaic Greek culture.

This study presents and intellectual- and literary-historically contextualizes a remarkable but as yet unpublished treatise by Ibn Turka (d. 1432), foremost occult philosopher of Timurid Iran:  the Munāẓara-yi Bazm u Razm.  As its title indicates, this ornate Persian work, written in 1426 in Herat for the Timurid prince-calligrapher Bāysunghur (d. 1433), takes the form of a literary debate, a venerable Arabo-Persian genre that exploded in popularity in the post-Mongol period.  Yet it triply transgresses the bounds of its genre, and doubly marries Arabic-Mamluk literary and imperial culture to Persian-Timurid.  For here Ibn Turka recasts the munāẓara as philosophical romance and the philosophical romance as mirror for princes, imperializing the razm u bazm and sword vs. pen tropes within an expressly lettrist framework, making explicit the logic of the coincidentia oppositorum (majmaʿ al-aḍdād) long implicit in the genre in order to ideologically weaponize it.  For the first time in the centuries-old Arabo-Persian munāẓara tradition, that is, wherein such debates were often rhetorically but never theoretically resolved, Ibn Turka marries multiple opposites in a manner clearly meant to be instructive to his Timurid royal patron:  he is to perform the role of Emperor Love (sulṭān ʿishq), transcendent of all political-legal dualities, avatar of the divine names the Manifest (al-ẓāhir) and the Occult (al-bāṭin).  This lettrist mirror for Timurid princes is thus not simply unprecedented in Persian or indeed Arabic literature, a typical expression of the ornate literary panache and genre-hybridizing proclivities of Mamluk-Timurid-Ottoman scientists of letters, and index of the burgeoning of Ibn ʿArabian-Būnian lettrism in late Mamluk Cairo; it also serves as key to Timurid universalist imperial ideology itself in its formative phase—and consciously epitomizes the principle of contradiction driving Islamicate civilization as a whole. 
        To show the striking extent to which this munāẓara departs from precedent, I provide a brief overview of the sword vs. pen subset of that genre; I then examine our text’s specific political-philosophical and sociocultural contexts, with attention to Naṣīr al-Dīn Ṭūsī’s (d. 1274) Akhlāq-i Nāṣirī and Jalāl al-Dīn Davānī’s (d. 1502) Akhlāq-i Jalālī on the one hand—which seminal Persian mirrors for princes assert, crucially, the ontological-political primacy of love over justice—and the Ẓafarnāma of Sharaf al-Dīn Yazdī (d. 1454), Ibn Turka’s student and friend, on the other.  In the latter, much-imitated history Amir Temür (r. 1370-1405) was definitively transformed, on the basis of astrological and lettrist proofs, into the supreme Lord of Conjunction (ṣāḥib-qirān); most notably, there Yazdī theorizes the Muslim world conqueror as historical manifestation of the coincidentia oppositorum—precisely the project of Ibn Turka in his Debate of Feast and Fight.  But these two ideologues of Timurid universal imperialism and leading members of the New Brethren of Purity network only became such in Mamluk Cairo, where lettrism (ʿilm al-ḥurūf) was first sanctified, de-esotericized and adabized; I accordingly invoke the overtly occultist-neopythagoreanizing ethos specific to the Mamluk capital by the late 14th century, especially that propagated at the court of Barqūq (r. 1382-99).  For it is this Cairene ethos, I argue, that is epitomized by our persophone lettrist’s munāẓara, which it effectively timuridizes.  To demonstrate the robustness of this Mamluk-Timurid ideological-literary continuity, I situate the Munāẓara-yi Bazm u Razm within Ibn Turka’s own oeuvre and imperial ideological program, successively developed for the Timurid rulers Iskandar Sulṭān (r. 1409-14), Shāhrukh (r. 1409-47) and Ulugh Beg (r. 1409-49); marshal three contemporary instances of the sword vs. pen munāẓara, one Timurid and two Mamluk, by the theologian Sayyid Sharīf Jurjānī (d. 1413), the secretary-encyclopedist Aḥmad al-Qalqashandī (d. 1418) and the historian Ibn Khaldūn (d. 1408) respectively; and provide an abridged translation of Ibn Turka’s offering as basis for comparative analysis.

Through a literary reading and analysis of the roles of the main characters in the extant text I come to the conclusion that Anat was punished for murdering Aqhat, though it is not expressed explicitly. Since she is a goddess she cannot be subject to retribution. But from a literary point of view, the narrator responds to the event of the murder, and expresses his criticism and thoughts indirectly. He uses poetic means to connect the event of the murder to other details and events related by him, thus pointing at the possibility that Anat has been subject to retribution on an indirect or symbolic level. Since Daniel’s name may mean ‘El has done justice’ we come to ask: who is responsible for doing justice in this story?
This essay presents just a small part of the elaborate and complex literary creativity of the Ugaritic poet, which is performed in a similar way to comparable phenomena in biblical narrative. Thus, this paper also indirectly supports the assumption that the background of the poetics of biblical narrative is reflected in the Ugaritic epics, and that the two corpora are representative of the same literary tradition in their poetics as in other areas.

Ketaksaan adalah konstruksi yang memiliki makna lebih dari satu sehingga terkadang menimbulkan ketidakjelasan yang banyak berbicara mengenai maknasintaksikal.Jenis-jenis ketaksaan/ ambiguitas terdapat tiga tingkat yaitu leksikal, fonetik, dangramatikal. Faktor-faktor ketaksaan dapat ditelisik dari beberapa sudut, yaitu sintaksis, morfologi, leksikon, atau pun struktural.

This article reviews some recent publications dealingwith the phenomenon of polysemy,
and addresses some of the questions which they raise. Accordingto a generally accepted
definition, polysemy is the association of two or more related senses with a single phonological
form. In many respects, the definition is highly problematic. Important foundational questions
concern the nature of word senses, how they can be identified, enumerated, and characterized,
the manner in which they may be related, and the psychological reality of these constructs. A
further question concerns the kinds of linguistic units that are candidates for a polysemy
analysis. Also not to be overlooked is that fact that the phonological pole of a linguistic unit is
likely to exhibit variation no less than the semantic pole. In spite of the many theoretical and
descriptive problems associated with polysemy, it is remarkable that speakers of a language
are rarely troubled by it. The paradox is traced back to way in which polysemy is conceptualized
by linguists, against the backdrop of ‘idealized cognitive models’ of language. The
article concludes with some observations on a usage-based approach to issues raised.

This essay outlines the characteristics of what I call the ‘totalitarian mindset’. Under certain circumstances, human beings engage in patterns of thinking and behavior that are extremely closed and intolerant of difference and pluralism. These patterns of thinking and behaving lead us towards totalitarian, anti-pluralistic futures. An awareness of how these patterns arise, how individuals and groups can be manipulated through the use of fear, and how totalitarianism plays into the desire in human beings for ‘absolute’ answers and solutions, can be helpful in preventing attempts at manipulation and from the dangers of actively wanting to succumb to totalitarian, simplistic, black-and-white solutions in times of stress and anxiety. I present a broad outline of an agenda for education for a pluralistic future. The lived experience of pluralism is still largely unfamiliar and anxiety inducing, and that the phenomenon is generally not understood, with many myths of purity and racial or cultural superiority still prevalent. Finally, as part of that agenda for education, I stress the importance of creativity as an adaptive capacity, an attitude that allows us to see pluralism as an opportunity for growth and positive change rather than simply conflict.

The current text expresses my reflections on Frank Griffel's recently published book "The Formation of Post-Classical Philosophy in Islam." As mentioned in the text, many intellectual aspects of philosophy became gradually integrated into the theological discourse among Muslim thinkers. Fakhr al-Dīn al-Rāzī's contributions both in theology and philosophy (d. 1210) remark one of the most influential register of thought in the 6th/12th century.

In his écrit L’étourdit, Lacan develops a tripartite definition of the equivocal, distinguishing between the homophonic, grammatical, and logical. Psychoanalysis, being the praxis of alleviating unconscious symptoms via the semblance that is language, depends upon the equivocity of language. This paper elucidates these three forms of ambiguity in their relevance to the clinic and the end of analysis.

Wikipedia is often referred to as the best example of collective knowledge creation, folksonomies, and the wisdom of the crowds. UDC, on the other hand, is a classic example of a knowledge order designed and updated by defined expert groups.
In this study, we have shown that a simple mapping between Wikipedia and UDC category structure is problematic, firstly due to the nature of the act of classification itself. Secondly, the differences in the structure and distribution of both systems add new problems to this process.
To draw attention to the resulting ambiguity and problems of such translations, we have demonstrated that a simple approach based on domain knowledge and background created highly controversial ‘left-over’ categories. A keyword search in the UDC database clarified the position
of some ambiguous categories but required manual adjustment. Even this adjustment was not enough to properly assign some categories, so we applied a second keyword analysis to find UDC main class keywords in Wikipedia categories. While this stage solved some of the problems, we freely admit that the results are far from perfect.

This dissertation discusses the authenticity problems with regards to "La carte et le territoire" and "Soumission", the two latest novels of French writer Michel Houellebecq. The problems of authenticity are analysed from the viewpoint of the protagonists. In the first chapter a more philosophical approach discusses the problems of authenticity the protagonists face, being certain entities and living in the western world, whereas in the second chapter a more sociological approach is used to analyse the question of authenticity as the external world exercises his influence on the protagonists and poses them certain dilemma’s.

This paper explores the place of traditional metaphysics in Iranian cinema through an analysis of three films by Majid Majidi. Countering evaluations of Majidi’s films as tritely patriarchal or heavy-handedly logocentric, this paper considers images and allegories in Majidi’s films as responses to the pains of modernity. Majidi’s films, specifically, Children of Heaven, Baran, and the Color of God, draw on Sufi and Shii theologies to locate meaning in a world changed by war, modernization, economic disparity, and nationalism. The result is a sense of ambiguity that aims at both realism and transcendence.

f Greek warfare could once be considered as a set of well-organized and well-prepared battles of perfectly aligned hoplites, recent research has highlighted a more complex reality, but hasn’t always stressed the importance of secrecy and cunning in Greek warfare. Through Xenophon’s work, we would study here the different ways of hiding one's intentions towards one's enemies and manipulating one's soldiers. In the Anabasis army, the power relationships are partly determined by secrecy and trust: mercenaries' trust or mistrust of Cyrus; Cyrus’ trust or mistrust that those who know his true destination will not reveal his secret; and Cyrus' opponents immediate mistrust of him. Moreover, we can see how Artaxerxes, the Great King, uses deception as well as his brother Cyrus does, if not better. This tendency to hide one’s true intentions isn’t only characteristic of the “Persian barbarians” but is also found in the Greek armies. Agesilaus, the model general praised by Xenophon, is an expert in the art of deception. In this paper, we’ll focus in particular on the speeches in Xenophon’s works, because they illustrate the possibility of manipulating soldiers’ actions and beliefs. They might also seem to legitimize the use of secrecy even with regard to one’s relatives. Yet, the problem of deception and secrecy toward relatives is highly problematic in Xenophon’s work, not because it is morally reprehensible because at the end it is often counterproductive. This may be used to highlight the ambiguity of his presentation of military secrecy.

A characteristic of the written text is its permanency. 

Many people can read that text over a long time period and in many different ways. It can be analysed and deconstructed by the reader to present many varied interpretations, to further the interests of that reader. 

Similarly, the writer may want to create a false understanding of the text for the reader in order to persuade or bias the reader, possibly for financial or political gain.  The writer of non-fiction may want to enhance a lifeless description, to produce greater feeling and depth within the writing – to sell more books, or get revenge.

Misinformation or false facts in a written text, placed there by the writer, constitutes a special case of misunderstanding, as the facts may be wrong (intentionally or mistakenly) or out of context with the situation being written about. I have found that generally we can recognise these situations, by putting a name to these elements of misunderstanding, which we know well, if only by their effect on us. 

This paper will look at the elements used intentionally by the writer to deliberately change the meaning of what would normally be deduced from a text, when considering only the mechanics of reading.  This means deciphering each word and sentence from dictionary definitions, and constructing an interpretation, much like a foreign migrant would do, in interpreting a new language.

Of course, if the mechanisms used by writers to create a misunderstanding are known to the perceptive audience, then there is no longer a misunderstanding.

"Ambiguous Positions In Everyday Life Of The Modern World And The Movie “Rembetiko” As An Example Of Exclusion Practice" SineFilozofi Dergisi 3. Ulusal Sinema ve Felsefe Sempozyumu 4-6 Aralık 2020 p. 90-91 (Bildiri Özeti)

Öz
Temelleri Aydınlanma Düşüncesi’ne dayanan modernlik fikri, rasyonalizasyon ve bilimsellik düşüncesi üzerine temellenirken gündelik hayatın içerisindeki yaşam dünyalarını tek taraflı bir şekilde örgütleyerek düzenlemiştir. Zygmunt Bauman’a göre modernlik, gündelik hayatın içerisindeki tüm kurum ve yapıları rasyonel saiklere göre planlarken aynı zamanda müphem konumlar inşa etmiştir. Modernite, bireyi ulus devlet yapısı içerisinde yurttaş olarak ele alırken, sisteme eklemlenemeyen ya da tanımlanamayanları yabancı konumuna sürüklemiştir. Yabancılık, müphem bir siyasal konum olarak yurttaşın karşıtı olarak bulunurken 20. yüzyılın başında birçok asimilasyon ve dışlama tekniği ulus devlet yapıları içerisinde tezahür etmiştir. Bu siyasal süreç içerisinde modern dünyadaki gündelik hayatın yapısal bileşenleri olan zaman ve mekân örgütlenmesi dönemin egemenlik ilişkilerinin örüntüsü olarak ortaya çıkmaktadır. Henri Lefebvre sosyolojik tahayyülünde gündelik hayatı Marksist anlamda ele alarak onu praksis felsefesinin içerisinde tanımlamıştır. Bu bağlamda gündelik hayatın ritmi ve mekânsal boyutu bireyin toplumsal yaşamına etki ederek onu dönüştürmektedir. 20. yüzyılın başında Türkiye ve Yunanistan arasındaki nüfus mübadelesi döneminde geçen toplumsal olayları bireysel hayat hikâyesi üzerinden inceleyen Rembetiko filmi tarihsel bir momentte toplumsal yaşama eklemlenememiş, yabancı konumuna sürüklenmiş bir grup insanın gündelik hayatının sinemasal temsilidir. Filmde Rembetiko müziğinin ritmi bir yandan yaşanan bireysel ve toplumsal dramın ritmiyle üst üste binerken diğer yandan modern toplumun örgütlenme tarzına karşı bir direniş alanı olarak öne çıkarak toplumsal alandaki dışlama pratiğinin temsili haline gelmektedir. Bu çalışmada Costas Ferris’in “Rembetiko” adlı filmi ilgili kuramsal perspektif üzerinden modern dünyada dışlama ve içeri katma şeklinde işleyen gündelik hayatın mekânsal ve zamansal işleyişi göz önünde bulundurularak eleştirel perspektiften ele alınacaktır. 
Anahtar Kelimeler: Modernite, Müphemlik, Gündelik Hayat, Toplumsal Mekân ve Zaman, Sinema

Abstract
While grounding on the thought of rationalization and science, the idea of modernity, the foundations of which are based on the Enlightenment Thought, has organized the worlds of living in daily life by reorganizing them unilaterally. Modernity, according to Zygmunt Bauman, has built ambiguous positions at the same time while planning all daily life institutions and structures according to rational motives. Modernity has treated the individual as a citizen within the structure of the nation-state, while dragging those who cannot be articulated into the system or identified within, into the position of an outsider. While foreignness has been present as the opposite of the citizen as an ambiguous political position, many assimilation and exclusion techniques has emerged in the nation-states at the beginning of the 20th century. During this political process, the reorganization of time and space, as the structural components of daily life in the modern world, emerges as the pattern of the domination relations of the period. In his sociological imagination, Henri Lefebvre handled everyday life in a Marxist sense and defined it within the philosophy of Praxis. In this regard, the rhythm and spatial dimension of daily life transforms the individual by affecting their social lives.  The movie “Rembetiko”, which deals with the social events that took place during the population exchange between Turkey and Greece at the beginning of the 20th century through an individual life story, is a cinematic representation of a group of people who were unable to be articulated into social life and were dragged into the position of a stranger. While the rhythm of Rembetiko music in the film overlaps with the rhythm of the individual and social drama experienced, on the one hand, it also stands out as a field of resistance against the reorganizing style of modern society and becomes the representation of the exclusion practice in the social area. This study discusses Costas Ferris' "Rembetiko" from a critical perspective by considering the spatial and temporal functioning of daily life, which functions as exclusion and inclusion in the modern world through the relevant theoretical perspective. 
Keywords: Modernity, Ambiguity, Everyday Life, Social Space and Time, Cinema

Ce petit volume, consacré à un rapprochement entre deux écrivains engagés,  regroupe deux études indépendantes : l’une, « Mirbeau et Camus : éthique et ambiguïté », est la version longue d’une communication au colloque de Lódz d’octobre 2005, "Cet irrésistible désir d’éduquer... Manipulation, endoctrinement, mystification" ; l’autre, « Mirbeau, Camus et la mort volontaire », une communication au colloque de Lorient de novembre 2000 sur "Les Représentations de la mort".
Octave Mirbeau et Albert Camus ont en commun d’avoir mis l’éthique au poste de commande, dans leur engagement politique, et d’avoir adopté une esthétique à la fois classique, par l’adaptation de la forme et des règles aux objectifs de l’écrivain, et novatrice, par le recours à une pédagogie de choc, qui oblige les lecteurs à jeter sur les choses un regard neuf qui contribue à les émanciper intellectuellement. Refusant les œuvres didactiques, les œuvres à thèse et, à plus forte raison, les œuvres de propagande, ils ont fait de l’ambiguïté un principe de leur éthique en même temps que de leur esthétique. Ici le corpus réduit à deux œuvres théâtrales en forme de tragédies, "Les Mauvais bergers" et "Les Justes", et à deux romans, "Le Journal d’une femme de chambre" et "L’Étranger", pour montrer que, malgré leur révolte et leur engagement au service de la justice, les deux écrivains ont respecté leur devoir de vérité en ne craignant pas de « désespérer Billancourt » et en s’interdisant de faire de leurs personnages de simples porte-parole : Jean Roule et Kaliayev, comme Célestine et Meursault, constituent de simples exemples, et pas du tout des modèles à suivre, et leurs comportements aboutissent à des apories, que leurs créateurs se gardent bien de prétendre dépasser.

This paper adresses ambiguous images of social dis/order, theories in which social order and its "other" are creatively related to each other. I will discuss classical and newer approaches, first of all the earlier as well  as the late work of Émile Durkheim, both of which develope a genuine perspective on social order. The early Durkheim conceptualizes social order as normative order, the late Durkheim as religious order, in which the collective sacred is radically seperated from the profane or mundane world of the individual, but also its foundation and transgression. This line of thought found its continuation in the works of the Collège de  Sociologie,  especially with George  Bataille, as well as social anthropology, for example Viktor Turner and Mary Douglas. And it served as theoretical foundation for the sociology of the extraordinary  of Bernhard Giesen, who conceptualizes society as cultural order, an order of differences that relies on ambivalence and ambiguity.

Die folgenden Überlegungen sind »Kippbildern« sozialer Ordnung gewidmet, Theorien, die soziale Ordnung und ihr »Anderes« in ein produktives Verhältnis setzen. Es sollen  klassische  und  neuere  Ansätze,  die  soziale  Ordnung  als  Kippbild  verstehen,  diskutiert  werden.  Eine  herausragende Rolle spielt zunächst Émile Durkheim, dessen Früh- und Spätwerk  jeweils  eine  eigenständige  Perspektive  auf  soziale  Ordnung  als  Kippfigur  werfen.  In  Durkheims  frühen  Arbeiten  wird  Gesellschaft als normative Ordnung konzipiert, deren Übertretung sich als konstitutiv für dieselbe erweist – ein Ansatz, der im deutsch-sprachigen  Raum  insbesondere  in  der  Skandalforschung  fruchtbar  gemacht wurde. Hingegen begreift der späte Durkheim Gesellschaft als  eine  religiöse  Ordnung,  in  der  das  kollektive  Heilige  in  einen  radikalen  Gegensatz  zur  profanen  Lebenswelt  des Einzelnen  tritt,  diese  aber  zugleich  begründet  und  überschreitet.  Durkheims  »religiöse« Soziologie fand ihre Fortsetzung in den Arbeiten des Collège de  Sociologie,  insbesondere  bei  George  Bataille,  sowie  in  der  Sozial-anthropologie, beispielsweise bei Viktor Turner und Mary Douglas. Sie  diente  auch  als  theoretische  Grundlage  für  die  Soziologie  des  Ausserordentlichen von Bernhard Giesen, mit der wir uns im letzten Abschnitt  eingehender  auseinandersetzen  wollen.  Giesen  versteht  Gesellschaft  als  eine  kulturelle  Ordnung,  als  System  von Unterscheidungen,  für  deren  Fortbestand  Ambivalenz  und  Ambiguität  entscheidend sind. In eine ähnliche Richtung weisen auch neuere Ansätze  einer  Soziologie  des  »Exzeptionellen«  (Bröckling)  oder  »Singulären« (Reckwitz) im deutschsprachigen Raum.

We live in a world in which ever-greater arenas of social life are shaped by standardization and bureaucratic rationalization, as the pursuit of ‘measurable results’ sweeps everything from universities to hospitals to international organizations. Yet intuitively we understand that much of our collective and individual existence escapes these efforts of rationalization. How then do we develop a conception of the social world that appreciates both the powerful drive towards rationalization and the things that escape or overflow? This article seeks to answer this riddle by examining the central role of ambiguity in social life in general – and in organizational practice in particular. The concept of ambiguity is implicit in much social theory. Yet, over time, as theories become established, much of their openness to tension and ambiguity tends to be closed off. This article seeks to recapture some of that messiness, to shift the focus of attention slightly and to look at what slips out, does not fit or gets lost in translation. Drawing on the examples of two international organizations – the IMF and the World Bank – I explore the ways in which bureaucracies seek not only to contain ambiguity through various forms of quantification and standardization, but also to foster it.

Between 2009 and 2012, the Pakistani Supreme Court granted a range of rights to gender-nonconforming people, sometimes known as the khwaja sira, in a series of historic rulings. While the judiciary sought to regulate this population through legal and policy developments, community activists aimed to change the public image of gender non-normative people through public advocacy. In this paper, I draw on James Scott’s theorizing on indigenous resistance to examine the practices of khwaja sira activists who sidestepped the trappings of dissent by anticipating potential pitfalls and avoiding any possibility of being accused of anti-Pakistan and anti-Islam activities. Instead, they employed forms of identification and refusal that not only impeded potential allegations of anti-nationalism but also complicated notions of dissent through engagement in modes of participation and resistance. I argue that underpinning this praxis is the khwaja sira desire for partial incorporation into the state, as citizens that are at once legally and culturally recognized and accepted, but also relatively self-governing and only partially intelligible within social and state spheres.