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Young people’s drinking represents a nexus between time, temporalities and social practices. While drinking and intoxication have previously been considered a way to achieve a youthful sense of ‘time out’, young people’s drinking is declining in Australia and other high-income countries, suggesting alcohol’s centrality in young people’s leisure time has diminished. Drawing on interviews with light and non-drinker teenagers from Melbourne, Australia, we develop Adorno’s concept of ‘free time’ to show how young people’s time use practices – including how they incorporate alcohol into their lives – are more than ever shaped by social and economic pressures. We framed participants’ discussion of time and its relationship to drinking as a) using free time ‘productively’, b) being opportunistic around busy schedules, and c) the importance of using time for restoration. These framings suggest fragmented and pressure-filled patterns of free time may challenge drinking as a ‘time out’ practice for young people.

Son conocidas las principales acusaciones: pesimismo res-pecto a las posibilidades de cualquier anhelo emancipatorio, que sume el discurso en una actitud de resignación (confortable: emu-lando a las divinidades olímpicas, Adorno contemplaría, desde el Hotel Abismo, el espectáculo, en sí mismo desolador, de una humanidad inmersa en la barbarie, sin otra alternativa que \"devorar o ser devorado\"); elitismo que desprecia, desde una actitud de grand seigneur, la cultura de masas, con lo que reproduce el gesto clasista, aristocrati-zante, de la intelectualidad burguesa; este-ticismo, en fin, que se refugia en el análisis inmanente de la obra artística descuidando la causación económica, infraestructural, que subyace a los fenómenos superestruc-turales. El discurso de vocación crítica se traicionaría a sí mismo de someterse a los dictados de una conciencia pública configurada por la lógica del capital. Su men-guada autonomía representa, aun residual-mente, la insumisión ante una barbarie que se impone como destino: \"Era la propia rea-lidad social la que convertía en outsiders a los que un día se habían llamado hombres de cultura\" (p. 77). ¿Esteticismo? Por un lado, imperativos sistémicos de coacción y explotación; por otro, la disper-sión, atomizada, de mónadas egoístas auto-centradas. La potencia de los primeros se traduce en el vaciamiento de las segundas; en el límite, el yo humano dejaría incluso de ser organismo vulnerable, carne sintiente, para devenir pieza inerte del sistema, fun-cionalmente ajustada al proceso social de producción y consumo... incluso destinada al desguace, como demostró el exterminio de la judería europea.

By examining German colonialism within an expanded temporality, this paper implicitly rallies against two common mistaken assumptions: that the historical significance of German colonialism and the German colonial imaginary are restricted to the period before World War I (pre-1914) and their impact is less severe than those of the British and French empires.1 Schmidt-Rottluff’s fame dates to his student years at the Dresden University of Technology (1905-7), where he studied with Erich Haeckel, Ernst Ludwig Kirchner, and Fritz Bleyl, other founders of Die Brücke. In 2021-2, following many decades of academic reckoning with the movement’s unsettling ambivalence, the Brücke-Museum in Berlin assembled the exhibition Whose Expression? The Brücke Artists and Colonialism in 2021-2 to further interrogate questions of cultural appropriation and the movement’s entanglement in the colonial apparatus of power.4 This important exhibition participated in recent efforts to decolonize Germany’s ethnographic museums, which has involved the restitution of the Benin Bronzes, the repatriation of human remains, and significant institutional rebranding. [...]the Great Depression, Noah’s Ark sets were among the most popular and widely exported goods (Fig. 2).8 Although toy historians agree the popularity of Noah’s Ark toy sets peaked in the 19th century, they were still widely available in Germany after 1945.

In applying the concept of de-coincidence to artistic creation, François Jullien speaks, among other things, of transcending imposed frameworks, established patterns and forms of communication. This evokes the modernist art theories of Wilhelm Worringer and Theodor W. Adorno, in which artistic practice takes on a transcendental character. Worringer, by introducing the distinction between abstraction and empathy, elevated art that is not bound to the imitation of reality, treating it as a manifestation of the creator’s inner tension in relation to the world. Adorno, in turn, in his aesthetic theory, emphasized that true art resists reification and dominant cognitive schemes, offering an experience that exceeds the established bounds of discursivity. Worringer’s art of abstraction and Adorno’s critical art can thus be seen as prefig-urations of Jullien’s de-coincidence. In the present article, we juxtapose Worringer’s theory with that of Adorno in order to highlight the parallels between them – parallels in which art emerges as an act of stepping beyond the horizon of routine experience of the world.

La modificación de la dialéctica que propone el planteamiento de Adorno despliega una crítica inmanente del principio identificatorio que emerge del conflicto entre componente somático y concepto, entre lo idéntico y lo no idéntico. Ello resulta fundamental para comprender la dominación como segunda naturaleza en las formaciones económico-sociales modernas/coloniales. En este trabajo proponemos, en primer lugar, examinar críticamente las relaciones de alteridad que estructuran la experiencia de lo político al interior de la modernidad/colonialidad, y la configuración de la subjetividad en términos sociohistóricos. En segundo lugar, se explora, desde un abordaje decolonial del horizonte analítico de Adorno, la constelación de mecanismos ideológicos vinculados al principio identitario que se condensa en la alteridad colonial, y que, como exponemos en este análisis, convergen finalmente en una metafísica del exterminio, en donde lo particular resulta subsumido por lo universal, y, que se efectualiza como una matriz de dominación en la que se articulan la experiencia de lo abyecto y los procesos de estereotipia que vertebran la construcción simbólica y racial de América.

[...]evidence for Germany's decision to upgrade its role in global health comes from its commitment to develop the World Health Summit into a pre-eminent policy discussion forum. A decade ago, the 2013 replenishment saw just four countries in sub-Saharan Africa contribute $38 million. In global health, I think the roles of India and China, despite their demographic strengths, have been exaggerated, while African countries are too often neglected.

Rajagopal talks about cold war humanism. Media as a term has become so commonplace that it is easy to overlook the fact that one word designates all or virtually all technologies of communication, as if they could all be assumed to act in concert, or as if they were uniform. Max Horkheimer and Theodor Adorno noted that film, radio and the press were all projecting similar effects, they offered a critical concept, arguing that discrete media technologies and their distinct forms of expression were collapsing and merging into each other. \"Culture\" was being reduced to formulaic repetitions of social unity and uniformity, they argued, instead of providing ideas that transcended the status quo or militated against its reproduction.

Educación comparada; educación decolonial; identidad; colonialismo Abstract This article analyzes the problem that identity thinking implies for the pedagogy approach of the decolonial option. [...]an approach is made to the theoretical assumptions that articulate the decolonial paradigm, paying special attention to posthumanist philosophy, the ontological turn, and the ecological crisis in the context of the Anthropocene. The focus is on three problems of identity thinking: a) the assumption of privileged positions; b) the reinforcement of the colonial humanist framework; b) the essentialist conception of identity as the beginning and end of thought. De hecho, el crecimiento exponencial de las publicaciones sobre esta temática ha llevado a que algunos autores comiencen a hablar del «bombo actual de la decolonización» (Behari-Leak, 2019, p.58). Baste mencionar que en el 2018 la temática de la Conference of the Comparative Education Society of Europe (CESE) fue precisamente «Identities in Education».

This article stages a critical dialogue between Theodor Adorno and Frantz Fanon, arguing that their writings on negative dialectics and (non)identity thinking reveal the political non-identity of negative dialectics itself. First, we contend that Adorno and Fanon's negotiations of the violence inherent in identity thinking is paramount to their respective oeuvres. Second, we address criticisms of Adorno and Fanon's political response to the violence of identity thinking: that Adorno is an elitist conservative and Fanon an identitarian lover of violence. Finally, we interrogate how both exhibited their radically democratic commitment to the people's self-creation through their work on radio.