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Identity, Identification, and the Politics of Representation

Dunja Matić   ORCID icon ; Rijeka, Croatia

Puni tekst: hrvatski, pdf (310 KB) str. 39-47 preuzimanja: 643* citiraj
APA 6th Edition
Matić, D. (2012). Identitet, identifikacija i politike predstavljanja. Filozofska istraživanja, 32 (1), 39-47. Preuzeto s
MLA 8th Edition
Matić, Dunja. "Identitet, identifikacija i politike predstavljanja." Filozofska istraživanja, vol. 32, br. 1, 2012, str. 39-47. Citirano 03.04.2020.
Chicago 17th Edition
Matić, Dunja. "Identitet, identifikacija i politike predstavljanja." Filozofska istraživanja 32, br. 1 (2012): 39-47.
Matić, D. (2012). 'Identitet, identifikacija i politike predstavljanja', Filozofska istraživanja, 32(1), str. 39-47. Preuzeto s: (Datum pristupa: 03.04.2020.)
Matić D. Identitet, identifikacija i politike predstavljanja. Filozofska istraživanja [Internet]. 2012 [pristupljeno 03.04.2020.];32(1):39-47. Dostupno na:
D. Matić, "Identitet, identifikacija i politike predstavljanja", Filozofska istraživanja, vol.32, br. 1, str. 39-47, 2012. [Online]. Dostupno na: [Citirano: 03.04.2020.]

It is procurable to postulate that identity as such, even if tentatively fixed, is being beheld as an unstable, socially conditioned category, marked and recognized depending on the distribution of power and current discourse relations. The assumption of this text is the politics and the problematic of identity viewed through the conflict nature of the dominantly and marginally positioned relation of (its) social actors. Contextualized throughout this binary distribution of power, the applicable part of this text introduces the subject of identity studies and the problematic it beholds within identity itself in two different social discourses (the discourse of film and the discourse of popular culture). In this perspective, the film is seen as the media of popular culture, while the important part of scientifically-theoretical access to the subject which allows debate, is in the domain of cultural critique.
Interfering initially in the domain of esthetics, the text begins with examples in theory of practice. It concerns embeddedness of the film epitome into personal identification processes of everyday life. The practical assumption is: given the fact the relevancy of cinematography is broadly shown in the availability of the placed substance, the film itself is (by doing so) presented as a private and a collective itinerary of cultural knowledge and a signpost for lived experience.
The theoretical part of the story relates to the transfer of knowledge using specialized codes while confirming the fact of disciplinal closure as well as the identification process. If we were to assume that the initial tendency of recognition, establishment and inscription of identity into the matrix of everyday life is indeed a form of critical action, than it is right to ask if there is a thing that could be called the paradox of establishing identity. And, if there is indeed such a thing, is this paradox actually sabotaging its own initial tendency – that being (repetitio est mater…) – acting? Conclusion suggests dialectical and interdisciplinary approach to the problematic which aims to the more correct politics of representation, both in ethical and political sense. More precisely, this text tries to open the possibilities of self-articulation and self-representation of different identification positions instead of nowadays apparent and dominate representations of manipulated knowledge.

Ključne riječi
identity; identification; film; multiple interpellations; differential identification; referentiality

Hrčak ID: 84039



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