The job of a writer is to rehumanise those who have been dehumanised.
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When migrants are perceived as a "flood", not only are they dehumanised but their movements are also mis-described.
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He argues that the industry has reduced real wages, made workers feel dehumanised and less secure, and exposed them to constant, stress-inducing change.
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It turns out that we have not dehumanised each other to the same degree as the Palestinians and the Israelis; it only feels that way.
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" He added: "Learning of what happened, I recognise the sins of my British colonial history, the ideology that too often subjugated and dehumanised other races and cultures.
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In general, using a person like a machine in sexual interaction does cause social as well as individual harm since it allows classes of people—usually women —to be dehumanised and reinforces self-centered and selfish views of sexual gratification.
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Strikingly, data from Beyond Conflict, an NGO that promotes reconciliation in conflict areas, show that Americans feel "dehumanised" by the opposing party—a sentiment often associated with political violence—at roughly the same level as Israelis and Palestinians viewed each other during the Gaza War in 220.
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The shorelines of the Leitzaran and those of its tributaries Ubaran (Ubane) and Malo were declared Protected Biotopes on 29 September 1995. They have a total area of . Despite its apparently dehumanised appearance, the trace of man is strong. There are plenty of prehistoric monuments (especially in its borders) and grazing has been long-practised (as shown by the "seles" presence).
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Hilary McD. Beckles, "A 'riotous and unruly lot': Irish Indentured Servants and Freemen in the English West Indies, 1644-1713," William & Mary Quarterly (1990) 47#4 pp 503-545. in JSTOR The Irish were dehumanised by the English, described as "savages," so making their displacement appear all the more justified. In 1654 the British parliament gave Oliver Cromwell a free hand to banish Irish "undesirables".
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The verb "encrease" accompanied by the connotations of "breed" convey an animal image, suggesting that the traitors are a separate, growing species. Thus the sinful are being dehumanised. In the final line of the stanza, David's enemies' "numbrous strength redoubling" conveys an almost militaristic image. The idea of David's enemies becoming a vast army emphasises his solitude and presents him as a humbling narrator.
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Tick-box culture or in U.S. English check-box culture, is described as bureaucratic and external impositions on professional working conditions, which can be found in many organizations around the world.Steven Poole. Tickbox by David Boyle review – thinking inside the box: From call centres to management consultancy to government, decision-making is being dehumanised. We need to take a stand against the culture of targets, The Guardian, 16 January 2020 Another related term is the culture of performativity.
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"Perhaps the most challenging idea incorporated in the theory of autopoiesis is that social systems should not be defined in terms of human agency or norms, but of communications. Communication is in turn the unity of utterance, information and understanding and constitutes social systems by recursively reproducing communication. This sociologically radical thesis, which raises the fear of a dehumanised theory of law and society, attempts to highlight the fact that social systems are constituted by communication."Banakar and Max Travers 2005: 28.
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She has been mistaken for Lorena Ruiz, a woman with many debts whose creditors will not believe they have got the wrong person. The harassment continues, and the case of mistaken identity becomes a living Kafkaesque nightmare for Olivia as she searches for the mysterious Lorena Ruiz. Director Isidora Marras was inspired by a case of mistaken identity that she herself suffered. The film is the portrait of a bureaucratic and dehumanised system where people are no more than consumers.
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In his evolutionary model of history, he argued that human history began with free, productive and creative work that was over time coerced and dehumanised, a trend most apparent under capitalism. Marx noted that this was not an intentional process, rather no individual or even state can go against the forces of economy. The organisation of society depends on means of production. The means of production are all things required to produce material goods, such as land, natural resources and technology but not human labour.
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Although braves were frequently demonised and dehumanised in contemporary accounts, they have also been portrayed sympathetically in Dime novels. Chingachgook from Cooper's Last of the Mohicans, May's Winnetou, and Ellis' Deerfoot of the Shawnee are represented as selfless, heroic protagonists as intelligent and competent as any white man.Campfire and Wigwam, by Edward S Ellis By the mid-20th century, the noble savage trope was parodied, especially in comic books. "Little Plum" from the Beano and "Oumpah-pah the Redskin" were portrayed as goofy and dull-witted for comedy value.
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Recently, a commission for Radio 7, (now called BBC radio 4 Extra), called Jefferson 37 by Jenny Stephens also explores the same theme in a four-part radio play. The whole plot takes place within Abbotsville, a free range laboratory, where the clones are deliberately dehumanised. The story culminates with their humanity resisting the desire to quash it. The plot of Unwind, a 2007 science fiction novel by young adult literature author Neal Shusterman, takes place in the United States, after a civil war somewhere in the near future.
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Russian literature also lies within his sphere of interest (productions of Dostoyevsky's "The Brothers Karamazov" and, recently, M. Bulgakov's "The Master and Margarita"). Lupa shatters the traditional action of the performances, stretching their tempos and concentrating on the poetic values of particular situations rather than the plot or conflict. This is a theatre of philosophical and existential reflection in whose centre is situated the modern human being, attempting to find a place in an ever more dehumanised world. For several seasons now, Lupa's productions have been regularly shown in Paris, where they have been received with great admiration by critics and audiences.
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Miruka emphasises that ogres are but masks of humanity; they are no different from those in society 'who specialise in ugly deeds but who can appear very mild and sociable to gain access to the victims'. Brolloks ultimately corresponds to Miruka's interpretation of the ogre who stands "for evil and death. He symbolises the ominous flail of vice looming over humanity and threatening to reduce it to nothingness. He is a replica of those of us who are dehumanised, alienated, immoral and egotistically ready to achieve their goals ... regardless of the repercussions on the larger society".
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A 1926 retrospective of his work at Anderson Gallery in New York was followed in 1927 by an exhibition of his paintings at the Baltimore Museum of Art. His first trips to the United States were made for these shows, and from then on, becoming very much in demand by American café society for his talents as a portraitist. His sitters included Henry Clay Frick, Payne Whitney, and members of the du Pont, Astor, and Vanderbilt families. In 1929 he painted a series of New York cityscapes through which he endeavoured to capture the dehumanised modernity of a city under construction via a mixture of abstraction and photographic realism.
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In April 1893, at a Philharmonic concert (also featuring Sapellnikoff in Chopin's E major concerto), "happening to be tremendously in the dramatic vein, she positively rampaged through a Schiller-Joachim scena and through Beethoven's Creation Hymn, scandalizing the Philharmonic, but carrying away the multitude."Shaw, Music in London, II, 295. Shaw, who did not admire Brahms, praised Marie Brema's introduction of the Harzreise im Winter in February 1894, for though he thought Goethe's words had been 'dehumanised' (by Brahms) and that she sang 'without twopenn'orth of feeling', she had 'a thousand pounds' worth of intelligence and dramatic resolution. She has of late made a remarkable conquest of the art of singing.
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The activity of fishing seems to have been at least implicitly enshrined as a constitutionally mandated activity as was the production and exportation of empty rum and beer bottles. The charter was generally received in the spirit in which it was intended, but not universally. L. Chernaya, writing in the Moscow Literaturnaya Gazeta, published in October of 1952 an attack upon the content of the Baldonian Charter, which she claimed dehumanised and decivilized the citizenry, and upon the person of the prince of princes, whom she denounced as a 'savage' Western imperialist. It is unclear whether this criticism was intended to be taken seriously; some Canadian newspapers at the time believed it to be tongue-in-cheek.
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Through capturing these life-spaces, work such as Williams' personalises issues that too often become dehumanised. Anthropologist Johannes Fabian suggests that in the African context, such pop cultural expressions represent ‘moments of freedoms’, allowing for the conceptualisation and cultivation of alternative modes of being, that liberate the individual, albeit in fleeting, contestatory and conflictual spaces. Much South African photography such as Williams’ work, embodies Fabian's notion of ‘moments of freedom’, depicting lives both limited, but not completely contained by the harsh realities of life. Moreover, South Africa's unique status as an African nation with incredible wealth and incredible poverty provides fertile ground for challenging discourses of afro-pessimism and neo-colonialist attitudes towards Africa.
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Voldemort appears at the climax of the fifth book, Harry Potter and the Order of the Phoenix, having again plotted against Harry. In this book, Harry goes through extreme emotional stress, and according to Rowling, it was necessary to prove that Harry is emotionally vulnerable and thus human, in contrast to his nemesis Voldemort, who is emotionally invulnerable and thus inhuman: "[Harry is] a very human hero, and this is, obviously, there's a contrast, between him, as a very human hero, and Voldemort, who has deliberately dehumanised himself. […] and Harry, therefore, did have to reach a point where he did almost break down." In this book, Voldemort makes liberal use of the Ministry of Magic's refusal to believe that he has returned.
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The science fiction themes of autonomous weapons systems and the use of computers in warfare date back to the 1960s, often in a Frankensteinian context, notably in Harlan Ellison's 1967 short story "I Have No Mouth, and I Must Scream" and films such as The Forbin Project, originally released in 1970 (based on a novel by Dennis Feltham Jones). In Keith Laumer's Bolo novels, the eponymous protagonists are huge main battle tanks with self-aware artificial intelligence. Another common theme is that of dehumanised, cyborg or android soldiers: human, or quasi- human beings who are themselves weapons. Philip K. Dick's 1953 short story "Second Variety" features self-replicating robot weapons, this time with the added theme of weapons imitating humans.
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Second, the brutality of Mau Mau attacks on civilians made it easy for the movement's opponents—including native Kenyan and loyalist security forces—to adopt a totally dehumanised view of Mau Mau adherents. Resistance to both the Mau Mau and the British response was illustrated by Ciokaraine M'Barungu who famously asked that the British colonial forces not destroy the food used by her villagers, potentially starving the entire region. Instead, she urged the colonial forces guard the yams and bananas and stop the Mau Mau from killing any more residents. A variety of persuasive techniques were initiated by the colonial authorities to punish and break Mau Mau's support: Baring ordered punitive communal-labour, collective fines and other collective punishments, and further confiscation of land and property.
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In her New Yorker review titled "Stanley Strangelove", Pauline Kael called it pornographic because of how it dehumanised Alex's victims while highlighting the sufferings of the protagonist. Kael derided Kubrick as a "bad pornographer", noting the Billyboy's gang extended stripping of the very buxom woman they intended to rape, claiming it was offered for titillation. John Simon noted that the novel's most ambitious effects were based on language and the alienating effect of the narrator's Nadsat slang, making it a poor choice for a film. Concurring with some of Kael's criticisms about the depiction of Alex's victims, Simon noted that the writer character (young and likeable in the novel) was played by Patrick Magee, "a very quirky and middle-aged actor who specialises in being repellent".
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Irene Fernandez (18 April 1946 – 31 March 2014) was a Malaysian human rights activist and politician. She was a People's Justice Party (KeADILan) supreme council member The Rocket - DAP Newsletter and the director and co-founder of the non-governmental organization Tenaganita, which promotes the rights of migrant workers and refugees in Malaysia. In 1995, Irene Fernandez published a report on the living conditions of the migrant workers entitled "Abuse, Torture and Dehumanised Conditions of Migrant Workers in Detention Centres". The report was based in part on information given to her by Steven Gan and a team of reporters from The Sun, who had uncovered evidence that 59 inmates, primarily Bangladeshis, had died in the Semenyih immigration detention camp of the preventable diseases typhoid and beriberi.
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Alienation is a term philosophers apply to a wide variety of phenomena, including any feeling of separation from, and discontent with, society; feeling that there is a moral breakdown in society; feelings of powerlessness in the face of the solidity of social institutions; the impersonal, dehumanised nature of large-scale and bureaucratic social organisations. Kierkegaard recognizes and accepts the notion of alienation, although he phrases it and understands it in his own distinctly original terms. For Kierkegaard, the present age is a reflective age—one that values objectivity and thought over action, lip-service to ideals rather than action, discussion over action, publicity and advertising over reality, and fantasy over the real world. For Kierkegaard, the meaning of values has been removed from life, by lack of finding any true and legitimate authority.
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However, Rowse that he was alone with Trott that the latter said: "If they kill me, you will never forgive them, will you?" Trott's ideas led to a complete rejection of democracy as a system morally no different from National Socialism. In 1938, Trott wrote to a British friend that what was happening in Germany was a "European phenomenon", believing that with the Industrial Revolution, European society had become dehumanised and lost its spiritual core. Trott wrote this was much a problem of democratic as totalitarian countries, writing: "It is my opinion that this pandering to the instinctual side of human consciousness, as much by democracy as by totalitarianism, is what has led to the sterile and cynical defeatism that lies at the root of Europe's intellectual chaos".
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Trott believed that both capitalist democracy and Communism were flawed systems that had dehumanised society, and Germany should follow neither. Despite Trott's reputation as someone oriented towards "Western" values, based on his education at Oxford and Anglo-American friends, Trott was in fact deeply hostile towards the American "pioneer" ideal of a rugged individualist on both moral and practical grounds, believing that such individualism promoted selfishness, greed and amorality. Trott came to find his political idea in the mir ("commune") of Imperial Russia. Germans tended to have two contradictory pictures of Russia as either a primitive and savage "Asian" country that was threatening Europe or to see it in idealised and romantic terms as a place where the people were simple, but more spiritual than the people in the West.
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Because of their ascribed cultural excellence as a social class, the Italian fascist régime (1922–45) of Prime Minister Benito Mussolini regarded the bourgeoisie as an obstacle to Modernism.Bellassai, Sandro (2005) "The Masculine Mystique: Anti-Modernism and Virility in Fascist Italy", Journal of Modern Italian Studies, 3, pp. 314–335. Nonetheless, the Fascist State ideologically exploited the Italian bourgeoisie and their materialistic, middle-class spirit, for the more efficient cultural manipulation of the upper (aristocratic) and the lower (working) classes of Italy. In 1938, Prime Minister Mussolini gave a speech wherein he established a clear ideological distinction between capitalism (the social function of the bourgeoisie) and the bourgeoisie (as a social class), whom he dehumanised by reducing them into high-level abstractions: a moral category and a state of mind.
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Not only did the middle and upper classes become familiar with the urban squalor suffered by working class children from the slums, but the children got a chance to see animals and the countryside, often for the first time, and experience rural life. The use of statistical analysis, by a branch of science which has become known as Operational Research to influence military tactics, was a departure from anything previously attempted. It was a very powerful tool but it further dehumanised war particularly when it suggested strategies that were counter-intuitive. Examples, where statistical analysis directly influenced tactics include the work done by Patrick Blackett's team on the optimum size and speed of convoys and the introduction of bomber streams, by the Royal Air Force to counter the night fighter defences of the Kammhuber Line.
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At the beginning of his work stand humorous sketches mostly from small-town environments, with caricatured human types, especially from middle-class, often Jewish society. His first novel was Dům na předměstí (1928, A House in the Suburbs) in which he portrayed the transformation of a "small man" into a dehumanised creature as soon as he is seized with the proprietary instinct to possess. He was widely popular for his humoristic prose such as Muži v offsidu (1931, Men in Offsides, which was made into a movie that year by director Svatopluk Innemann, starring Hugo Haas in the role of Mr. Načeradec) or Michelup a motocykl (1935, Michelup and the Motorcycle). Much of his work was devoted to a cycle in which he portrayed a small town during the years before World War I. The story is centered around the fate of the tradesman, Štědrý, and his sons.
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