Jean Baudrillard is a pivotal figure in contemporary cultural theory. Without doubt one of the foremost European thinkers of the last fifty years, his work has provoked debate and controversy across a number of disciplines, yet his significance has so far been largely ignored by feminist theorists.

The case of chronic pelvic pain in women is presented as an example to explore firstly, the problem of medical knowledge on, and interventions for, chronic pain; secondly, current new developments at the intersection of neuroscience and phenomenology, in particular Varela's proposal for a 'neurophenomenology'; and thirdly, methodological issues of significance for social interpretive sciences to enable their active contribution to this research programme. This paper argues that a non-dualistic concept of embodiment is fundamental to developing understandings of chronic pain, (...) and that contributions from critical phenomenology need to be augmented with analyses from socio-political and cultural research. The social interpretive sciences, to contribute to a fully interdisciplinary neurophenomenology, need a methodology for analysing meanings within a theorization of language that is commensurate with critical phenomenological accounts of embodiment. (shrink)

Speaking about the state of the Hollywood film industry at the 2008 Academy Awards, the Oscars’ host – comedian Jon Stewart – made the following wry assessment: ‘Not all films did as well as Juno obviously. The films that were made about the Iraq War, let’s face it, did not do as well. But I’m telling you, if we stay the course and keep these movies in the theatres we can turn this around. I don’t care if it takes 100 (...) years. Withdrawing the Iraq movies would only embolden the audience. We cannot let the audience win.’ The films he is referring to include Home of the Brave (2006), In the Valley of Elah (2007) and Stop-Loss (2008) – all of which focus on the personal cost to American soldiers on their return to civilian life, as well as exposing the failure of the US invasion of Iraq at home and abroad. Despite their topical subject matter, these movies were, for the most part, commercial failures. This article seeks to investigate audience indifference (Jean Baudrillard claims a certain indifference is a fundamental consequence of the Western globalising ideology) to mainstream cinematic depictions of the post September 11 invasion of Iraq, via a consideration of the trauma and abjection depicted in these films. Baudrillard’s hypotheses on terrorism – as a symbolic challenge put forth by terrorism (embodied by the attack on the Twin Towers) – and the West’s incapacity to respond to it, forms the basis for our investigation of the limits of these films to incite and engage viewers. His writings offer a lens through which to consider how ‘terrorism’ operates symbolically, and fundamentally, the dilemmas this raises for a Western psyche grappling with how the ‘terrorist threat’ might be answered, engaged with, responded to. (shrink)