Zygmunt Bauman

Roskilde Universitet " Nowadays we are all on the move " (Bauman 1998: 77) " It sometimes seems as if all the world is on the move " (Urry 2007: 1) Introduktion Dette kapitel saetter fokus på mobiliteten og bevaegelsens sociologi. Det diskuteres hvordan mobilitet er et menneskeligt og samfundsmaessigt grundvilkår. Mobilitet er således ikke noget nyt men med det moderne samfunds udvikling blev mobiliteten i stigende grad understøttet af teknologier og derfor mere intensiv og omfattende. Med udgangspunkt i nutidens samfund diskuterer jeg hvordan bevaegelser mellem lande og kulturer har stor betydning for, hvordan det naere hverdagsliv og verden opleves samt hvorfor mennesker rejser. I den vestlige verden tages det for givet, at man kan konsumere alverdens forbrugs-og medieprodukter, kommunikere med fjerne mennesker og rejse til eksotiske steder. Men samtidig er rekord mange mennesker på flugt fra fattigdom, krig og ødelaeggelse. Kapitlet introducerer således til centrale sociologiske teorier og diskussioner om nutidens mobilitet og turisme, og det viser, at netop mobilitet og turisme er afgørende for menneskers erfaringer med og oplevelser af vores globale samtid. Samtidig viser jeg, at nutidens omfattende mobilitet udretter irreversible skader på miljøet. Sociologerne Zygmunt Bauman og isaer John Urry har beskaeftiget sig indgående med mobilitet, og kapitlet vil derfor have saerligt fokus på dem, men klassikerne Karl Marx og George Simmel inddrages ligeledes. Overordnet diskuterer kapitlet det mobile samfunds forskellige sol-og skyggesider, og den gennemgående pointe er, at mobilitet er blevet et nøglebegreb og-faenomen for nutidens sociologi og samfundsvidenskab mere bredt. Kapitlet indledes med et oprids af mobilitetens omfang og betydning for moderne samfund, der praeges af intensive strømme af objekter, teknologier, informationer og

Este artículo ofrece una perspectiva panorámica, aunque necesariamente incompleta, sobre la teorización sociológica acerca de la “comunidad”, un concepto sociológico fundamental (en sí mismo, o en el contexto del par dicotómico que integra con otro concepto, el de “sociedad”), desde los clásicos de la disciplina hasta hoy. Sacrificando profundidad para ganar a cambio amplitud y perspectiva histórica, se sobrevuela primero el pensamiento sobre la comunidad de algunos clásicos (como Ferdinand Tönnies, Max Weber y Émile Durkheim) y luego el de Talcott Parsons. Luego, de manera más detallada, se analizan las concepciones de comunidad presentes en dos autores más recientes, Michel Maffesoli y Zygmunt Bauman. Este ejercicio, por un lado, se orienta a detectar las principales metamorfosis del concepto durante casi un siglo y medio, observando en los diferentes autores sus oscilaciones entre usos tipológico- científicos, históricos y utópicopolíticos de la comunidad. Por otro lado, al final, lanza algunas preguntas acerca de la (¿inextricable?) relación entre la sociología y los compromisos normativos.

Social acceleration may be described through the analogy of software updates. That is, updating to the latest requires some sort of forgetting of the former. This article argues that knowledge is increasingly severed from learning and thinking, following Bauman's (2005) insight that contemporary society no longer produces a culture of learning but rather a culture of forgetting, disengagement and discontinuity. First, I will review the development of the knowledge society and its promise, which social acceleration will let us forget that the same promise is still pending in contemporary discourse. Then I will address the problem of disengagement, or fear of involvement, which consequently alters the relation people have with each other and learning. Discontinuity is when society loses its connection with its past and future alternatives. Time ceases to be inscribed in duration to become scattered moments, drifting loose with the relentless overflow of information. However, learning takes time; it is a built-in property that was also forgotten alongside the 'updating' of the contemporary conceptions of knowledge. One needs time to think and connect what was, what is and what could be to foster imagination and creativity, to figure out that society could be otherwise and become an object of critique, and most importantly, an object of involvement and learning.

In the paper I seek to investigate the marked degree of visibility of the individual that we see in todays society. To illuminate the subject, I have been looking at societal as well as individual perspectives from two very different angles, a social and philosophical, represented in this paper by Zygmunt Bauman, and Judith Butler. When looking at the social conditions of our time, Bauman describe these as being "liquid". As individuals we are in paradoxical terms, bound to our own freedom, which has been granted through the development of the postmodern society, but to the cost of collective protection and security. Individualisation has therefore become the governing rule in general, which Bauman believes has led to big uncertainty. To Bauman every human being is defined by their own essence, but today this has been replaced with the visibility itself, which instead has been given a value of it’s own. On the other hand, Butler focuses on how identity is something being made and remade all the time through what she calls “performative acts”. To Butler the idea of a human essence outside the existence of the performative action, is an illusion, that is created through repeated normative acts. Even though we have a freedom to act, we are also limited in our expressions because of our normative (heterosexual gender) hierachy. Visibility therefore becomes the constituting factor in the “identity race”.

I conclude the paper by claiming that visibility has a normative character, and that this is not something new. I believe, that the general understanding of identity is bound to the notion of a human essence, and therefore also to the fact that we are somewhat different from each other. This distinction though, only works through some kind of visibility, and so it has to be a corporate part of identity itself. In more sociological terms, what has changed is not the existence of visibility, but the developing opportunities of how it appears.

From concerns of dwindling care and kindness for others to an excessive concern with self and consumerism, plenty of evidence has been provided for the claim that morality is in decline in the West, yet little is known about how people make-sense of and experience their everyday moral lives. This insightful book asks how late-modern subjects construct, understand and experience morality in a context of moral uncertainty. With a focus on two areas of morality and human conduct – love and intimacy, and the human treatment of animals – the author draws on the work of Bauman, Ahmed, Irigaray, Foucault and Taylor to construct an innovative theoretical synthesis, which is combined with new empirical material drawn from online diaries or blogs to examine the complex and intriguing ways that contemporary subjects narrate and experience everyday moral-decision-making. Providing theoretical and empirical insights into the contemporary production of morality and selfhood in late-modernity, Everyday Moralities sheds new light on the ways in which people morally navigate a changing social world and advances sociology beyond models of narcissism, moral loss and community breakdown. As such, it makes an important contribution to an underdeveloped area of the discipline, explicitly addressing the everyday ways morality is lived and practiced in a climate of moral ambiguity.

El tema de la modernidad y su relación con la constitución del capitalismo sigue siendo discutido por diversos analistas. Estos debates, han llevado a que el “termino”, sea tratado en la actualidad acerca de su continuidad como “postmodernidad” o “modernidad tardía”. Para analizarlo deben de tenerse en cuenta, ciertas categorías que conforman las discusiones en torno al tema: capitalismo, consumo, entre otros.

W artykule zostały przedstawione wybrane socjologiczne, społeczno-psychologiczne i filozoficzne koncepcje tożsamości jednostki ludzkiej z ostatniego ćwierćwiecza wieku XX oraz początku wieku XXI w ramach nurtów późnego interakcjonizmu symbolicznego, socjologii działania, teorii strukturyzacji oraz krytycznego nurtu postmodernizmu kulturowego.
Zostały przeanalizowane wybrane dzieła reprezentujące wspomniane perspektywy, czego dokonano z punktu widzenia tematyki tożsamości oraz miejsca jednostki we współczesnym społeczeństwie.
Analiza i synteza wytypowanych dzieł zawiera zwarte przedstawienie koncepcji Ja, tożsamości jednostki ludzkiej na tle innych istotnych elementów wspomnianych koncepcji, w tym teorii tożsamości roli, akcjonalistycznej koncepcji podmiotu społecznego, kontruktywistyczno-strukturalistycznej teorii podmiotu działającego, wolności wyboru tożsamości przez baumanowskiego konsumenta oraz indywidualnego projektu tożsamości w ramach teorii strukturyzacji.
Głębokie wieloletnie przemyślenia wybitnych obserwatorów zmian społecznych zarówno na poziomie społeczeństwa narodowego, jak i globalnego, ich niewątpliwie ciekawe intuicje oraz odkrycia fundamentalnych procesów mogą znacząco zainspirować oraz wyposażyć każdego badacza w niezbędny zestaw pojęć i pewne ramy dla interpretacji zdarzeń empirycznych.

This article discusses the forthcoming diagnostic classification of Prolonged Grief Disorder in light of sociological perspectives. By placing death and grief at the center of human life and culture, the beginning pathologization of grief may be discussed in regards to contemporary societal transformations. First, it will be discussed how grief can be viewed as an emotion that in many ways is essential for our self-understanding, self-relation and relation to others. Then, through the perspective of Zygmunt Bauman, it is discussed how death, and thereby grief, can be seen as constitutive for society and culture and how medicalization has played an important role in transforming our relationship to death and grief by a process of deconstruction. This perspective is then supplemented with Hartmut Rosa's discussion of accelerating society to illuminate why grief is now a disorder that requires psychiatric treatment. The article ends with a discussion of why these tendencies are problematic in regards to our conceptualization and understanding of grief. "Your absence has gone through me Like thread through a needle. Everything I do is stitched with its color"

La crisis de la covid-19 ha sacudido, sin duda, los cimientos de las sociedades del mundo, y especialmente de las del hemisferio norte del planeta. La prime-ra oleada de la pandemia ha cuestionado la eficiencia de algunos gobiernos y sistemas de salud que gozaban de consideración como los más eficientes. En el momento de la redacción de estas líneas, la pandemia parece todavía lejos de poder declararse superada. Por ello, cualquier conclusión sobre sus efectos es prematura, aunque haya transcurrido el tiempo suficiente para extraer unas primeras valoraciones. Las reflexiones que propongo a continuación se sitúan en el ámbito de la filo-sofía social. Tomaré como referencia algunas valoraciones del sociólogo polaco Zygmunt Bauman porque ha sido, a mi entender, uno de los mejores analistas de la crisis moral de las sociedades capitalistas, al menos, desde la publicación, entre 1987 y 1991, de la llamada "trilogía de la modernidad". Ampliaré sus aportaciones con otras de los filósofos Emmanuel Levinas y Hans Jonas, porque han analizado con detenimiento el concepto de vulnerabilidad y su importancia para el desarrollo del principio de responsabilidad, que ambos sitúan en la base de la moral contemporánea. El propio Bauman es deudor de ambos autores, especialmente de Levinas. A mi modo de ver, la presente crisis ha traído al primer plano un sentimien-to fundamental en la experiencia humana, que es el de la propia e inevitable vulnerabilidad. Desde hacía años, los análisis sociales señalaban que la cultura consumista en la que nos veíamos inmersos estaba llevando a otorgar primacía al sentimiento de satisfacción, que permitía la obtención de placeres inmediatos e individuales; pero que favorecía también la indiferencia hacia el sufrimiento ajeno. La crisis de la covid-19, inevitablemente, ha traído mucho sufrimiento in-esperado, pero, como toda crisis, puede convertirse también en un revulsivo que haga a nuestras sociedades reaccionar y redescubrir los fundamentos morales.

Artigo publicado no Dossiê Temático "Usos Práticos do Passado" na Revista Temporalidades: v. 9 n. 1 (2017): Edição 23.

RESUMO:A série televisiva Black Mirror, criada por Charlie Brooker, nos apresenta um futuro de distopia, onde a tecnologia avançada tomou conta da vida das pessoas, e com tons de ficção científica. A série, apesar de se passar em um espaço de tempo desconhecido, nos apresenta elementos sociais muito familiares. O episódio retratado nesse texto, Engenharia reversa (Men against fire), nos coloca questionamentos e desconfortos que o sociólogo Zygmunt Bauman há muito tempo nos alertava: de que não aprendemos nada com o Holocausto e de que a sociedade estaria em perigo até hoje, do mesmo jeito que estava em perigo em 1933. O objetivo desse artigo é fazer uma relação entre esse episódio e as teorias de Bauman e Hannah Arendt, acerca das lições do totalitarismo, dos elementos modernos que tornaram o Holocausto possível e da cegueira moral que acomete a sociedade moderna, fazendo com que não estejamos livres de outro Holocausto. Essa concepção se insere na proposta de Pierre Rosanvallon, nos usos da história para o presente e no constante diálogo entre o passado e o presente na história filosófica do político.

ABSTRACT: The science fiction television series Black Mirror, created by Charlie Brooker, presents a dystopic future in which high technology embraces and overpowers people‘s lives. The series, although set in an unknown historic period, shows very familiar social elements. The episode analyzed in this paper is entitled Men against fire and it raises some of the questions and discomforts that sociologist Zygmunt Bauman warned us about: for instance, the fact that we have learned nothing from the Holocaust, and that society is still in danger today as it was in danger in 1933. This article aims to relate Men against fire to the theories of Bauman and Hannah Arendt about the lessons of totalitarianism, the modern elements that made the Holocaust possible and the moral blindness that afflicts modern society – thus showing us that we are still in the possibility of another Holocaust. This proposal echoes the theories of Pierre Rosanvallon regarding the uses of history for the present, and the constant dialogue between past and present within the philosophical history of politics.

ABSTRACT: Colin Campbell states that hedonism, in other words, the search for pleasure, is what drives not only consumption desires, but also the interpersonal relationships of modern individuals. On the other hand, Zygmunt Bauman claims that, in consumer society, the individuals’ conduct and relationships are influenced by market values inserted into everyday life activities. This paper presents a survey in which Tinder app users are interviewed in order to verify whether the propositions of both theorists apply to the way users perceive the app and relate to the other people who also use it. Keywords: interpersonal relationships, modern hedonism, consumer society, Tinder.

RESUMO: Colin Campbell afirma que o hedonismo, ou seja, a busca pelo prazer, é o que movimenta tanto os desejos de consumo quanto as relações interpessoais dos indivíduos modernos. Já Zygmunt Bauman defende que, na sociedade de consumidores, a conduta e as relações dos indivíduos são influenciadas por valores de mercado inseridos na essência de atividades cotidianas. Este artigo apresenta uma pesquisa survey na qual são entrevistados usuários do aplicativo Tinder, a fim de verificar até onde as proposições desses teóricos se aplicam ao modo como os usuários percebem o aplicativo e se relacionam com as outras pessoas que o utilizam.

Strangers at Our Door is a book by Zygmunt Bauman, emeritus professor of sociology at the University of Leeds. Bauman is one of the most influential sociologists of our age, who wrote many books and articles in various topics. Bauman is the advocator of late modern social theory and he conceptualizes the age that we live in as a “liquid modern” time or era. I think that especially last several books of Bauman are efforts to express and contextualize his social theory and liquid modernity concept through different themes like morality, love, utopia, and social inequalities. This book also has the same intention and it can be considered as a late modern social theorists’ view on the current refugee crisis.

SE HACEN COMENTARIOS INTRODUCTORIOS A LA OBRA DE LOS PSCICÓLOGOS, PSICOANALISTAS Y EDUCADORES SEXUALES GALLEGOS A SU LIBRO "LA LUCHA SEXUAL DE LOS ADOLESCENTES EN LA HIPERMODERNIDAD", DESDE UNA PERSPECTIVA FREUDIANA Y REICHIANA ADAPTADA AL MOMENTO CONTEMPORÁNEO.

Era il 12 marzo 1989 quando, presso il CERN di Ginevra, l’informatico britannico Tim Berners-Lee presentò al suo supervisore Mike Sendall il primo progetto del World Wide Web. Furono necessari due anni per
rendere il progetto operativo e, nel 1991, uscì dal CERN per raggiungere prima gli addetti ai lavori e poi la maggior parte del globo. Poco meno di sette mesi dopo la presentazione della proposta da
parte di Berners-Lee, un altro fondamentale evento ha radicalmente rivoluzionato le vite degli individui. Il 9 novembre del 1989 viene picconato il Muro di Berlino che per ventotto anni aveva diviso non soltanto una città, ma l’intero globo. In quella data non è crollato soltanto un muro che divideva in due la città di Berlino, ma è stato aperto un varco verso la possibilità di un mondo globalizzato. Se questo era il sogno di chi ha picconato quel muro, la realtà che si è andata a sviluppare successivamente non ha visto nella globalizzazione l’unione dei popoli, piuttosto l’avvento di una fluidità generatrice di nuovi meccanismi di biopotere.

L’ultimo libro di Zygmunt Bauman, il grande sociologo polacco scomparso all’inizio di quest’anno, ha come titolo un efficace neologismo inventato dallo stesso autore: Retrotopia. Il volume postumo, edito in Italia da Laterza, parla di ritorni al e del passato. La “retrotopia”, infatti, spiega Bauman, è l’inverso dell’utopia, è un’utopia rivolta all’indietro: è la nostra recente attitudine a collocare nel tempo passato – e non più nel futuro o in un luogo leggendario – l’immaginazione di una società migliore.

This subject involves the study of theory and empirical research in social and political relations, culture and ideology, and human subjectivity and action. Students who complete this subject should possess an awareness of the ways in which social theory can provide a critical perspective on standard approaches to the study of politics, and knowledge of a repertoire of social theory concepts and approaches which can be drawn upon to analyse political processes.

본 연구는 동시대 사회와 현대미술이 글로벌리즘 아래 상호작용하며 변화해온 점에 주목해 현대미술의 미학적 경향을 분석한다. 현대미술은 1990년 이후로 형식부터 내용까지 변모를 거듭해왔다. 그 변화 한가운데 비엔날레가 현대 미술계의 가장 우세하고 영향력 있는 전시 형식이자 미술제도라는 사실에 비춰, 우리는 ‘비엔날레 문화’라 불리는 동시대 미술 현상에 초점을 맞춘다. 그리고 ‘유동성’ 개념을 들어 삶의 불안정성, 불확실성, 이동성, 미끄러짐 등 ‘부정적 지구화’가 초래한 시대성을 꿰뚫은 바우만을 참조해 현대미술의 동시대적 특수성을 해명한다. 요컨대 동시대성/액체 모더니티를 공유하고 있는 비엔날레는 전 세계 150개 지역에서, 2년마다 엄청난 규모와 집합적 질서로 열리면서 그 자체 안에 액체 모더니티/유동성을 특화하고 있다.
  나아가 다른 관점에서, 벤야민의 역사철학적 미학을 바탕에 두고 비엔날레 문화 및 현대미술을 분석한다. 벤야민은 20세기 초 예술이 처한 실제 상황을 조명하고 당대 종교적, 정치적, 형이상학적, 사회 경제적, 기술적 경향들을 종합적으로 표현하는 근대 예술의 해방적 가능성을 분명히 하고자 했다. 우리는 그 이론적 관점을 공유해 유동하는 현대미술의 미학적 경향이 글로벌 사회와 연결돼 조건화되며, 기술의 역량을 비롯해 동시대 여러 특성 및 집단 현존과 상호작용하면서 스스로를 구현하고 잠재성을 가시화하고 있음을 밝힌다. 

The aim of this research is to analyse what is the aesthetic specificity of contemporary art. To carry out this complex purpose, I suggest some kind of crucial  relationship between contemporary society and contemporary art, and they have changing themselves by interacting each other over the last two decades. The contemporary art world has changed and expanded exponentially ―from form to contents― since 1990. Somewhere along the line, global contemporary art scenes put a high degree of liquidity as the critical concept of Zygmunt Bauman’s Sociology. That is one of my view point, and why I call contemporary art as 'liquid art'.
  This paper focuses on the phenomenon of biennial and/or ‘biennial culture’ as a most powerful exhibition type and influential art institution of contemporary art world. There have been a number of criticisms on biennials, most of which deal with their form, contents, function, logics, and effects. But my own argumentation is concentrated on their contemporary artistic character as a part of liquid modernity what Bauman defined the distinctive feature of this era being affected by negative globalization; contingency, uncertainty, mobility and slipperiness of everyday life. As part of the contemporaneity, the global biennial culture is having particular liquidity with its body; definitions of biennials vary from huge, global scaled shows with a two-year cycle, over 150 biennials in different locals/cities and social conditions. Today's biennial become a global dispositif/apparatus for exchanging, networking, shifting and competing of art scenes around the world in the liquid modernity.
    The other argumentation of my research is based on Walter Benjamin's philosophical-historical aesthetics which analysed the changed conditions of 20th century art. In "The Work of Art in the Age of its Technological Reproducibility", Benjamin aimed to illuminate the real situations of arts and to suggest the liberated possibility of modern art that represent the theological, political, metaphysical, social, economical and technological tendencies. With his perspective on art, I try to explain the aesthetic specificity of contemporary art as a kind of liquid art that is widely engaging in global society and deeply connecting with our time.

I det här arbetet undersökte jag tre olika författares syn på det postmoderna: Alexandr Dugins, Jean- François Lyotards och Zygmunt Baumans. Vidare undersökte och diskuterade jag deras syn på postmodernitetens inverkan på kunskap och bildningsfrågor och de utmaningar den för med sig.
Undersökning har visat att världen har trätt in i en ny tidsålder – postmoderniteten som påverkade både kunskapssynen, vetenskapen och utbildningen i hela världen. Detta ledde till en kris inom nämnda området, eftersom modernitetens modeller och metoden har visat sig föråldrade. Krisen berörde frågan om legitimering av kunskapen och därmed vetenskapen. Situationen kräver därför nya, annorlunda modeller och tillvägagångssätt inom dessa områden som vore relevanta för vår tids utmaningar och detta arbetar man på i alla länder.

Modern zamanlarla beraber geleneksel sanat türlerine eklenen ve yedinci sanat adıyla da bilinen “sinema sanatı”, temelde izleyicileri eğlendirecek popüler bir anlatı şeklinde yorumlanmaktadır. Ancak sinema sanatı, aynı  amanda politik bir üründür ve var olan kurumların yerleşmesi ya da sistemin kendini tekrar tekrar üretmesi bakımından ideolojik bir araç olarak ele alınabilir. Sinema sanatının ürünleri olarak filmler, egemen siyasal kültürün yeniden üretiminde başat bir rol oynayabileceği gibi, karşı-hegemonik düşünce ve anlatıları da kapsayabilir. Nitekim politik sinema, kendi içerisindeki farklılıklarla beraber bu türden süreçlerin ürünü olagelmiştir. Özcan Alper’in senaryo yazımını ve yönetmenliğini üstlendiği; Onur Saylak, Megi Kobaladzade, Raife Yenigül, Serkan Keskin gibi oyunculara sahip olan “Sonbahar” (2008) filmi, Türkiye’de son dönemde üretilen politik filmlere bir örnek olarak değerlendirilebilir. 19 Aralık 2000 tarihinde yapılan “Hayata Dönüş Operasyonu” sonrasında, sağlık sorunları nedeniyle tahliye edilen Yusuf’un kalan ömrünü memleketi Artvin’e dönerek geçirmesini ve burada arkadaşı ile birlikte gittiği bir meyhanede Gürcü kızı Eka ile karşılaşmasını konu edinen film, bireysel ve politik direniş unsurlarını birleştirmiştir. Sonbahar filmi, gelenekselleşmiş politik film örneklerinden farklı olarak, yeni-politik sinemaya uygun bir dil geliştirmiş, toplumsalın yanı sıra bireylerin öykülerini de “sloganlaşmayan” bir dil ile seyirciye aktarmıştır. Sonbahar’ın konusu, devletin kendi elleriyle ya da baskı ve ideolojik aygıtlarının eliyle ayıklamaya çalıştığı, Yusuf ve Eka karakterleri başta olmak üzere, ayrık otlarının hayatlarıdır. Çalışmamız, Sonbahar filmini, filmleri içinde üretildikleri toplumsal yapıların bir ürünü olarak incelemeyi öneren sosyolojik film analizi çerçevesinde ve Zygmunt Bauman’ın “bahçıvan devlet” kavramsallaştırması yardımıyla ele almaktadır.

This paper examines the central role of the camp in the early Israeli state period and its spatial and geopolitical evolution. Unlike official Israeli history, which presents the immigrant camps as an inevitable improvised response to the unexpected problem of mass immigration, I examine the camp as a strategic modern biopolitical instrument that allowed for the state's profound geopolitical changes and was itself altered according to them. The paper analyses the ways in which the camp facilitated the creation of Israel as a state formed by two seemingly contradictory, but in fact complementary, conditions: on one hand, a product of a chaotic ‘state of emergency’ and a form of ‘ordered disorder’ created by mass immigration, and on the other hand, a product of a comprehensive, tightly controlled modernist project combining physical planning and social engineering. This duality reveals the role of these immigrant camps, which were created both in Israel and abroad, as spatial ‘black holes’ which swallowed the contradiction between the radical geopolitical transformation and the rational self-image of the Israeli state-building project. The evolving and hybrid typologies of the camp in Israel's pre-state and early-state periods expose it as a versatile instrument, highlighting the need for informed spatial and geographical genealogies of the camp in order to illuminate its various transformations.

www.sciencedirect.com/science/article/pii/S0962629816300877