European Journal for the Philosophy of Communication (Empedocles) - Current Issue

This article analyses the Swedish TV series Hållbart näringsliv (HN) to study hegemonic discursive formations over the meaning of the climate crisis. Combining new materialist approaches in discourse studies with a political ecology understanding of the socio-ecological entanglement, we propose the concept of technocratic solutionism to understand how the neo-liberal green economy secures instrumentalist discourses on nature in the Swedish context. The discourse-theoretical analysis of nine HN episodes identifies four nodal points which articulate the technocratic solutionist discourse: capital’s leading role, Nordic exceptionalism, substitutionalism and long-termism. We argue that the climate crisis can be understood as a materiality that dislocates capitalist assemblages, which then, in response, deploy a techno-solutionism discourse to protect the core principles of economic growth and profitability while marginalizing potential radical alternatives.

In this article I discuss T. Wartenberg’s claim that the film The Act of Killing, which has as protagonists and quasi co-authors perpetrators of the 1965–66 Indonesian massacre, ‘confirms’ and ‘supplements’ Arendt’s ‘banality of evil’ thesis. I argue for a more moderate version of the first part of this claim and expand upon the second. Thus, I suggest that the film gives us clues to articulate Arendt’s thesis with theories of alienation, hence also with Marxist theorizing. Central here is the idea that deficient sensibility, which, according to Wartenberg’s claim, supplements Arendt’s idea of ‘thoughtlessness’, is related to an alienating process within which cinema plays a prominent role. Thus, my argument revolves around the premise that in the film the question of mass evil-doing is intertwined with positing its own medium as an object of reflection, revealing cinema as carrying a contradictory potential. The critical upholding of Arendt’s thesis that the film enables also concerns the relationship of ‘banality’ to ideological motivation, a rather problematic issue in Arendt’s thesis. The film, I argue, suggests that ‘banality’ does not necessarily exclude ideological zealotry.

Augustine’s Confessions has been traditionally considered one of the founding texts in the genre of autobiographical writings. It belongs, in particular, to those specific autobiographical writings that their authors feel the need to write so as to defend their reputation, in the face of their critics. As part of their defence, what becomes important for these texts is that they communicate the truths of their authors. The problem in the case of the Confessions is that a number of scholars challenge Augustine’s truth claims by portraying him in a less sympathetic light. Given these challenges, an alternative way of reading the text is to displace the focus of the reading from that of its author to the effects the text is intended to have upon its readers. In this way, the Confessions is read as a narrative that aims to convert its readers towards the Christian vision of salvation which Augustine, as a rhetorician, crafts using a number of episodes that his readers can identify with. These episodes drawn from everyday life are deployed so as to depict universal existential situations with the ultimate purpose of enabling his readers to realize that Christian salvation is attainable for all, irrespective of their failings.