We live in a culture that tends to define the self in accordance to the status of its body and the maintenance of a healthy lifestyle. The corporal self-identity of contemporary times frequently goes under the name of ‘fitness’. It is a measure of aptitude for life in consumer culture and a service economy.
In the 19th century, new social practices, such as the promenading up and down the streets, mainly by men, reflected a new economic reality. Streets proved to be the right passages as architectural commodities for a capitalist economy rooted in visualism. The body became an artefact of display, which demanded the gaze of the onlooker.
In spite of the unprecedented political crisis, Joseph Muscat remained what a tattoo on his right bicep purportedly states: Invictus. He resigned on his own terms—bizarre outcome, considering the severity of the allegations implicating him in the Caruana Galizia murder cover up. We cannot fully comprehend it without finding out what sustained his baffling popularity.
Staged at the Valletta Campus Theatre, at a time when so much social and political turmoil was happening in Malta’s capital city, Larinġa Mekkanika found its hyperbolic tone caught up in an unholy juxtaposition of sorts, a feverish dream, something banal that felt deeply wrong.
Tenderness is a protest campaign against institutionalised amnesia.
Good bye, Paul. You remain in the thoughts, memories and deeds of all of those whom you challenged and inspired.
In order to determine the presence of anti-Semitism in discourse and actions concerning Israel, we need to make our way through the lies and logical fallacies surrounding this issue.