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Jeffrey Goldfarb argues that if we criticize the behavior of one group, we should not turn a blind eye to the behavior of another. He complains that the contributions of Yossi Gurvitz, Omri Boehm, and Nahed Habibibah to this seminar, while effective in their criticisms of the policies and practices of Israel, ignore the terroristic tactics of Hamas. The truth is, he suggests using a phrase of Omri Boehm, that both Israel (or at least its ruling coalition) and Hamas are “collaborators” in terrorism. Insofar as they both seek “military solutions to problems that ultimately must be addressed politically … they share responsibility for the escalating inhumane death and destruction.”

Jeff’s initial point is a good one. There are good moral as well as political reasons for Palestinians and their supporters to look critically at the tactics of their political leaders — not only of Hamas but also of Fatah. But to move from this to …

Our colleague, Zeyno Ustun, is back in Istanbul this month. We corresponded about the situation there on the occasion of the anniversary of the Gezi protests. She reports political paralysis with maximum police presence and sent a report from Amnesty International that she judges to summarize the situation accurately. Zeyno came across the following piece in Revolution News. It is re-posted here with permission. –Jeff Goldfarb

The repression of peaceful protest and the use of abusive force by police continues unabated one year after the Gezi Park protests.

Across Turkey, more than 5,500 people have been prosecuted in connection with the Gezi Park protests. …

“In a series of posts, Jeff Goldfarb and I [Iddo Tavory] have been sketching an outline for the study of the social condition — the predictable dilemmas that haunt social life. We argue that one of the core intellectual missions of sociology is to account for the ways in which social patterns set up these dilemmas that actors experience as crucial for their lives and how they define themselves.”

I have been following this inquiry into the social condition for a while, and I suggest that it will help to further understanding this condition if we take seriously the daily dramas of consumption, both as comedy and tragedy. “Say Yes to the Dress” is one of these social dramas, based on the very premise that buying a wedding dress really matters, that people do not make their consumption decisions lightly. …

In a recent interview with the German daily Frankfurter Allgemeiner Zeitung, Elisabeth Badinter bemoans new trends in motherhood emerging in France. The French feminist observes that growing numbers of French mothers — though they are still a minority, she is quick to add — are becoming preoccupied with childrearing practices: they are overprotective, sacrifice too much for the (perhaps largely imagined) good of their offspring, lose themselves in motherhood. Immediately, I thought this sounded a lot like a description of Matka Polka, the archetypal Polish mother — that is until I read the next sentence, in which Badinter concludes that French mothers are becoming more like the German ones. …

On the evening of April 9th, the Polish theater director, actor, and “practitioner of ideas,” Krzysztof Czyzewski, had a public conversation with Elzbieta Matynia and Jeffrey Goldfarb at the New School for Social Research. Czyzewski discussed his life course from actor in the avant-garde theater Gardzienice to a resident and activist in a remote northeastern corner of Poland, where Poland, Lithuania and Belarus meet, with Russia and Ukraine just down the road. He delves deeply in this “borderland” through living among and working with the people in the city of Sejny and the surrounding area. …

This is the prepared text of a contribution to a conference of the Europe for Citizens Forum in Brussels on January 28th, 2014.

The title of this discussion employs the metaphors that describe walking into the calamity of WWI, as framing both the ways Europeans remember the 20th century, and even more alarming, as reflecting a mode of uncritical observation which may lead to other calamities, wittingly or unwittingly, in the 21st.

Before we mark the “will to memory” by disasters past and present, informed by a version of a quote from Primo Levi, which one encounters upon entering the Holocaust Memorial in Berlin: “it happened, and therefore it can happen again. This is the core of what we have to say”; before this, I say, we ought to take a step back, to the division between remembrance as a form of thinking, and remembrance as warning (In German: gedenken, mahnen). …

This post is the first of two making a series of points: Here I answer Jeff Goldfarb’s points in the post he devoted to our common classes. In the second, I will stress a couple of issues that have to do with my central concern: the role of media as “showing.”

On media power and resistance:

Goldfarb writes, “Dayan thinks the media set the agenda more thoroughly than I think actually happens. I see not only the possibility, but also the reality of resistance, even when it doesn’t prevail… The power of big media is great, but it is something else completely if it faces persistent resistance.”

In answer to these two points, let me answer that I am less interested in quantifying power than qualifying power.

In my view, the power of the media lies not only in the consequences of what they show, but in the very fact of showing it. …

In a series of posts, Jeff Goldfarb and I have been sketching an outline for the study of the social condition — the predictable dilemmas that haunt social life. We argue that one of the core intellectual missions of sociology is to account for the ways in which social patterns set up these dilemmas that actors experience as crucial for their lives and how they define themselves.

Social life, as anyone who is in the business of living knows, is riddled with ambiguities and contradictions. But these contradictions and dilemmas are not only the stuff tragedies and epics are made of. As importantly, they include materials from which comedy is crafted. If we attend to the structure of humor, we can see that jokes work precisely because they shine light on dilemmas that are built into the social fabric. Thus, one of the core insights of the study of the comic is that it depends on telling two stories at the same time (what Arthur Koestler called “bi-sociation”). …