Ever since the publication of Mansfield Park readers and critics have debated how to understand the novel and particularly its heroine Fanny Price. Some have disliked Fanny, have thought of her as prudish and priggish, and perhaps have preferred Mary Crawford and wished for a different ending to the story. Others have defended Fanny’s virtue, her judgment, and her mind, regarding them as quite superior to the virtue, judgment, and minds of all of the other women in (...) the novel, and all the men too, excepting (perhaps) Edmund. The debate, quite clearly, is about what Jane Austen was up to in a novel with a heroine so different from those in her other novels. The question is unclear in part because the narrator’s voice in Mansfield Park is so much like Mary Crawford’s voice. In her article “Searching for Jane Austen in Mary Crawford,” Emily Auerbach offers us quotations from Mary Crawford and from Jane Austen’s own letters and challenges us to figure out which are which—and it is very difficult. Mary Crawford, like Jane Austen, is frequently sparkling and edgy while Fanny is not, yet Fanny is the star. (shrink)
Issu d'une thèse, ce travail original et novateur est vite devenu une référence sur un thème jusqu'alors peu traité. En effet, il n'est pas ici question des personnalités, vies et actions historiques des différentes reines, mais de la place, du statut et du rôle institutionnel de la reine, personne royale féminine, de son inscription dans le système monarchique français. Spécialiste de l'absolutisme monarchique, Fanny Cosandey part d'un constat simple : alors que, sous l'influence de l..
War often comes down to one thing: money. The role of economics in the study of both peace and war is arguably then the most important single factor when it comes to the study of defence. This excellent new book from Fanny Coulomb will be of interest not only to those involved in the burgeoning field of defence economics - it will also be of vital interest to students and academics from international relations, defence studies, philosophy and political science (...) backgrounds. (shrink)
This essay offers a critical analysis of Hannah Arendt's notion of natality through the lens of Adriana Cavarero's feminist philosophy of birth. First, I argue that the strength of Arendtian natality is its rootedness in an ontology of uniqueness, and a commitment to human plurality and relationality. Next, I trace with Cavarero three critical concerns regarding Arendtian natality, namely that it is curiously abstract; problematically disembodied and sexually neutral; and dependent on a model of vulnerability that assumes equality rather than (...) asymmetry. This last issue is further developed in the final section of the essay, where I examine the idea that birth, for Cavarero, becomes the very concept by which we can distinguish and normatively differentiate acts of care and love from acts of wounding and violence. Upholding the normative distinction here depends on a conceptual distinction between vulnerability and helplessness. To maintain the ethical potential of the scene of birth, I argue that we have to insist on the very characteristics Cavarero attributes to it—ones, as this essay aims to show, that are ultimately missing in the Arendtian account thereof. (shrink)
Governmental policies are encouraging companies to reduce the environmental impact of their packaging and particularly overpackaging, which raises a broad range of ethical considerations. However, experiments comparing an overpackaged product with a non-overpackaged product have shown that eliminating overpackaging may have a negative influence on brand image and consumer purchase intention. In this paper, we draw on attribution theory to examine the influence of the absence of overpackaging on consumers’ response, depending on their environmental consciousness and the absence of overpackaging (...) on the competing product. An experiment conducted on 218 consumers demonstrates that non-overpackaging for a target product only adversely affects purchase intention among non-environmentally conscious consumers when competing products are overpackaged. These results lead to optimistic recommendations for marketing managers and public policy makers to help them solve the ethical dilemma linked to overpackaging. (shrink)
Film critics and theorists often refer to the ‘worlds’ that films create, present, or embody,e.g. the world of Eraserhead or the world in Fanny and Alexander. Like the world of a novel or painting, the world of a film in thisprevalent use of the term denotes its represented content or setting, or whatever formaland thematic aspects distinguish it from other films in a pronounced and oftenimmediately recognisable way. Yet there is much more to be said in philosophical termsabout films (...) as, or as containing, worlds. This paper will argue that pursuing this subjectentails a needed re-evaluation of multi-faceted issues that are of concern to bothcontemporary film theorists and philosophers of film, including the relation betweencinematic representation and expression, reflexivity, the nature of film style andauthorship, and cinema’s relation to, and direct interaction with, other art forms. (shrink)
Toot. Pass gas. Break wind. Cut the cheese. Float an air biscuit. Burp from behind. Blow the brown horn. The backfire, bant, bucksnort, booty bomb, colon cologne, drifter, fanny bubble, gasser, gurgler, moon beam, nether belch, pants puffer, pooh tune, rip-snort, sphincter whistle, thunder dumpling, tush tickler, and trouser cough. These are synonyms for a bodily function that is as natural as breathing, eating, or sleeping. Yet unlike other physiological functions, the ‘flatus’ is a source of endless humor – (...) perhaps more so than any other subject in human experience. But why are farts funny? That is a question that is both serious and philosophically interesting. (shrink)
La pratique du copier-coller chez les étudiant.e.s est assimilée à du plagiat et la réponse apportée par l’institution se résume à « surveiller et punir ». Cette pratique mérite cependant d’être interrogée dans le cadre des littératies universitaires par rapport à la nécessaire prise en compte des littératies numériques. Le fait qu’elle soit conçue comme une « méconduite » d’un point de vue déontologique est à comprendre par rapport à un cadre normatif qui en appelle à l’honnêteté académique et institue (...) l’auteur et les sources comme des composantes essentielles des écrits de savoirs, sans guère en expliciter les enjeux. Comment penser le copier-coller et qu’en faire? En quoi peut-on passer de l’inacceptable au didactisable, et que prendre en compte? Dans la perspective d’une réflexivité critique dans le champ des littératies universitaires, nous proposons des éléments de contextualisation qui permettent de problématiser le copier-coller, en tant que geste d’écriture, en tant qu’objet de débats, et de manière à mieux outiller les étudiant.e.s face aux attentes universitaires et en termes de compétences littéraciques en général. Nous nous intéressons à la réception du copier-coller, à l’énonciation par copier-coller et aux confusions qui entourent les attentes à l’égard des écrits des étudiant.e.s. Le contexte est compris comme un cadre interprétatif qui sert à construire un objet didactique en tant que tel. (shrink)
The Kristeva Circle Conference of 2017 in Pittsburgh confirmed that writers throughout the world have been engaging with Julia Kristeva’s thought in large numbers and in ways relevant to “an ethics of inclusion,” the topic of the Conference. The question of race arguably came to a head at the conference when one of the founders of the Kristeva Circle, Fanny Söderbäck, commented on the paper just delivered by Kristeva via Skype, “The Psychic Life--A Life in Time: Psychoanalysis and Culture.” (...) According to Söderbäck, we run the risk of reinforcing Islamophobic views that equate terrorism with Islam if we focus on young women intent on jihad without simultaneously addressing the behavior of white men bent on white supremacist violence and terrorism. Kristeva did not directly address the issue of her lecture’s reinforcement of Islamophobic views in her response. Instead, she spoke at some length about a patient whose confrontation with Arabic poetry led to improvement in her psychic health. I introduce the following papers in part as a dialogue with Kristeva on race and as a response to Söderbäck’s comments. The essays all make reference to questions of race and ethnicity in Kristeva’s work. They do so in ways that provoke thought on the contributions of psychoanalytic writing, appreciated and also criticized for its universalizing tendencies, which may in part explain its vulnerability to charges of racism. (shrink)
Walter Kendrick traces the relatively recent concept of pornography—the word was not coined until the late 18th century—which became a public issue once the printing press gave ordinary people access to the erotica of the Greeks and Romans, the art and literature of the French enlightenment, and the poems of the Earl of Rochester and John Cleland's _Fanny Hill_. From the secret museums to the pornography trials of _Madame Bovary_ and _Lady Chatterly's Lover_, to Mapplethorpe, cable TV, and the Internet, (...) Kendrick explores how conceptions of pornography relate to issues of freedom of expression and censorship. (shrink)
In his essay "Différance," Derrida suggests that "the privilege granted to the present . . . is the ether of metaphysics."1 And in "Ousia and Grammé," he expresses this same idea, noting that "the entire history of philosophy" has "been authorized by the 'extraordinary right' of the present" and that "from Parmenides to Husserl, the privilege of the present has never been put into question."2 All temporal modes are ultimately thought in the form of presence (ousia): "The past and the (...) future are always determined as past presents or future presents" (OG 34). Being is "already determined as being-present" (OG 47), yet this determination, according to Derrida, remains unthematized within the tradition.The question of .. (shrink)
continent. 1.2 (2011): 70-75. cartography of ghosts . . . And as a way to talk . . . of temporality the topography of imagination, this body whose dirty entry into the articulation of history as rapturous becoming & unbecoming, greeted with violence, i take permission to extend this grace —Akilah Oliver from “An Arriving Guard of Angels Thusly Coming To Greet” Our disappearance is already here. —Jacques Derrida, 117 I wrestled with death as a threshold, an aporia, a bandit, (...) a part of life. —Akilah Oliver Moraine in geological lingo is that which is left behind. Moraine- a euphemism for the de-stabilizing referent of the writer-ly body as a “troubled and troubling landscape marked by cultural and historical signifiers, the body as flesh memory [...] the body as transitory” (Oliver, Author Statement). Moraine— a geological metaphor of the poet as a holder of memory, as an accumulation of rocks and debris carried along the edge, terminal, dropped at the foot of language (in language). “Flesh Memory” according to Akilah Oliver is "that which my body recalls [...] everything has to do with the task of remembrance and its narrative reinvention [...] I was always translating an idea of the world as it presented itself at any given time. To write was a choice about how to be seen, how to enter the world as translator, actor, participant, in the dialogues that apparently made the real 'real'" (Levitsky). Flesh. Memory. The stuff some poems are made from. The stuff that gets abandoned, gleaned, and picked up by more flesh and memory. "My body, my life has always felt like a kaleidoscopic rip in the dominant fabric [...] has always been a dialogue with the impossible and the apparent” (Levitsky). The impossible-body or poet's body anticipates and performs (through language) an irretrievable death. IN APORIA I realized everything I must have been doing must have been Death. It was Christmas or Labor Day—a holiday—and every time you turned on the radio they said something like ‘four million’ or ‘going to die’.” — Andy Warhol I’m trying on egos, [a justification for the planet’s continuance]. Oh hello transgressor, you’ve come to collect utilitarian debts, humbling narrative space. Give me condition and wheatgrass, I his body disintegrating. I his body is ossification. Death my habit radius, yeah yeah. I his body can’t refuse this summons. I can’t get out this fucking room. Tell me something different about torture dear Trickster. Tell me about the lightness my mother told me to pick the one i love the best how it signals everything I ever wish to believe true just holy on my ship. I jump all over this house. this is it [what I thought is thought only, nothing more deceptive than]: I his body keeps thinking someone will come along, touch me. As like human or lima bean. I’m cradling you to my breast, you are looking out. A little wooden lion you & Peter carve on Bluff Street is quieting across your cheekbone. Not at all like the kind of terror found in sleep, on trembling grounds. It is yesterday now. I have not had a chance to dance in this century. Tonight I shall kill someone, a condition to remember Sunday morning. To think of lives as repetitions [rather than singular serial incarnations]. To understand your death is as exacerbating as trying to figure out why as schoolchildren in mid-nineteen-sixties Southern California we performed reflexive motions: cutting out lace snowflakes, reading Dick and Jane search for their missing mittens, imagining snow. Disintegrat ing . The -ing gerund catapults from the non-finite verb into past, present, future. The -ing as a tail pinned to death, a dog spinning to bite and never fully reaching itself, always shy of the end, circumreferential; a double copulative: deathing. Possessively AO calls it “habit radius” (a virtual fetish attribute) or an inescapable death presence that “confronts us with the paradox of an unattainable object [...] through it’s being unattainable” (Agamben, 27). A flirtation or dialogue with an unknowable thing and aporia utilized as investigative instrument to engage (death) while (in Southern California) we “perform reflexive motions,” cut lace snowflakes, imagine snow, and pay rent like “yeah, yeah” what else is new. And this too, fiction. The book I wish to right. The restored fallen, heroic. Did you expect a different grace from the world? Or upon exit? I’m working on “tough.” They think I am already. All ready. Who is the dead person? Is "I'm sorry" real to a dead person? Browning grass. My hands on this table. A contentious century. A place to pay rent. Redemptive moments. Am I now the dead person? Dead person, dead person, will you partake in my persimmon feast? The body inside the body astounds, confesses sins of the funhouse. I too have admired the people of this planet. Their frilly, orderly intellects. The use they’ve made of cardamom, radiation as well. How they’ve pasteurized milk, loaned surnames to stars, captured tribes, diseases, streets, and ideas too. The living-body as archive: is it possible to experience the living-body as archive without a (kind of) death? Sifting the rubble, rummaging through hoarded debris, skin sheds, memory-napping, and re-awoken (in flesh and) on terrain. “An investigative poetics seeks to unravel staid communities of thought and grasp at what might always be just beyond reach; a poetics of inquiry that lies between language as meaning, and language as rapturous entry into the world of posited ideas and idealism”( Levitsky). Something snaps. Lights blow out prior to embarking upon an investigative poetics. It begins with a question (often a sexy aporia) that leads to openings. "Every politics of memory [...] implies an intervention of the state. It's a state that legislates and acts with regard to the nonfinite mass of materials to be stored, materials which must be collected, preserved” (Derrida & Stiegler, 62). It seems poetic investigation already contains the potentiality of an (invisible) archive if the writer is “always writing” especially when not. Here’s my stupid digital romantic inclination: the living-body (of a poet) is a self-sustaining archive of non-finite memories. But not even I really believe that. AO innovated and sculpted an investigative poetic praxis. In a conversation with poet Rachel Levitsky, poetic-voice is viewed not as a precious identifier, but as a means to think through/about form, concluding that form is linked to framing. While poetic-voice may have tendency to precede form, it also erupts as a result of framing techniques. “They are frames that hold the shape of thinking (which is also to say of imagining) [...].”7 This reminds me of my rabbit who symmetrically chewed the corners of his hutch, which makes me wonder if it’s an expression of the shape of some animal anxiety tick I won’t ever have access to. Beyond the form/frame, death is an unoriginal yet unique limit; death is a damn deathless thing. It functions as a source of poetic investigation; that thing always “just beyond reach.” And how is death not a fetish (in this case an obsessive reverence for something non-material)? “Insofar as it [death] is a presence, a fetish [...] it is in fact something concrete and tangible; but insofar as it is the presence of an absence, it is, at the same time, immaterial and intangible, because it alludes continuously beyond itself to something that can never really be possessed [...] The fetish is [...] a sign of an absence, it is not an unrepeatable unique object; on the contrary, it is something infinitely capable of substitution, without any successive incarnations ever succeeding in exhausting the nullity of which it is the symbol” (Agamben, 33). AO utilized absence (the absent body [catapulted by the death of a beloved]) as an apparatus to investigate. In the process of conversing with absence or that which is absent, the absent body is affectionately objectified, incessantly summonsed back to a place of recognition, of objects, a desire for the absent body to remain intact while exiting the structural limits of grammar and syntax by moving into chant forms “to say what cannot be said” (Levitsky). from AN ARRIVING GUARD OF ANGELS THUSLY COMING TO GREET dear oluchi- the light is blinking rapidly on the black boxy machine. your room seems bigger than before and i am still planning to read some of those robert jordan books of yours. yesterday at the used bookstore where i was browsing the mysteries to “stall reality” (they are really not mysteries at all, they just employ death as the plot mistress but are unable to grasp its mystery at all)—well the point is, things were calm down here for a while and the world was little. i want to be big like you. or i want you not vast, not dead, not gone, but human small and here. i am so selfish. that is what i really want. to see you again. to oil your scalp. to hear you walk in the door, say ma i’m home . give me a chance to say welcome home son. or when leaving, don’t forget your hat . what do you wear out there? i wish you could have taken your new shoes with you. i’m so proud of you. i’m sorry for the way you died. i miss you all the time. even before, i missed you. out there, one time, some different men said: “shake for me girl, i wanna be your backdoor man.” who dat you love. 5/18/03 A letter-poem in sixteen lines “dear oluchi-” is safe-housed in epistolary form. Poetic voice is rendered as internal thought meanderings, a not-so-much confession, private/(pillow?) talk in the desire to be heard/witnessed by the referent and reader with an intent to absolve. The diminutive “i” bears a relation to poet Fanny Howe’s “little g God” in that “One of the (many) things I like about little g God is that you can have a vodka tonic while you talk to little g God, sing along to Bowie’s “I’m Afraid Of Americans,” and hum Coltrane’s “A Love Supreme,” though maybe not all at the same time” (Oliver, 2009). Towards the middle of the poem AO is at a used bookstore and remarks on the funny employment of death as a ‘plot mistress’ that ‘they’ (the dubious employed mystery authors) are ‘unable to grasp’, thereby giving death a mouthpiece, a modeling job, something to do to pass the time. from THE VISIBLE UNSEEN When I first saw graffiti, I recognized in it an ugly aesthetic, a dialectics of violence, a distortion of limbs, a hieroglyph. It was only later when I read the names of the dead that I then saw the path of ghosts charted there; its narrative of loss for the visible unseen whose place in history has been fictionalized and rendered unseen under the totalizing glare of history. Inscriptions, traces, specters. Graffiti begs a public face just as ghosts require non-ghosts (humans) to sense them. The “visible unseen” is a game of hide-and-seek between public viewer and graffiti-inscriber, an ephemeral-violent aesthetic on an ephemeral-policed canvas. Graffiti-inscribers already submit to being forgotten, expect to be washed away; perhaps it’s a holy urban mandala created by gangster-type monks without Buddhism. [...] in its refusal to disappear it forces a discourse in the public imagination we are forced to see what we would rather not, to make sense of an encoded language that we cannot read on the level of meaning. it irritates, forces its agency on us, speaks outside and beyond semiotic reach. An epic font-size pervading the public’s imagination, illegible, I could just close my eyes, remain passive, drive past, abandon it beyond reach, push it further away beyond death walls. In Barcelona I watched a clean up crew wash walls with an awesome water hose but I was more intrigued by their bodies; not a distortion of limbs, not hieroglyph but also not entirely legible; the laboring body permanently erasing specters of the city, and of course they knew it was also an invitation for the ghosts to return. Graffiti is death’s little sister, is also an aporia. [...] Graffiti (fr GK -graph(os), something drawn or written, to diagram or chart) attempts to stage the impossible: to erase the essence of its own subjectivity. Graffiti is a cartography of ghosts, a mapping of elegiac rapture (the transporting of a person from one place to another, as in heaven) and rupture (the state of being broken open.) Dwelling is a fiction stasis. [...] The notion of the past as being something done with, a look-back event, inhibits the possibility of reading graffiti as rapture, as rupture. If graffiti posits history as always in the process of becoming undone. [...] Because what is the body, if not also a complex temple, an unstable site through which to negotiate subjects, materiality, economies, gods, and modes of representations? The site where we are all already belated. Graphein meaning “to write.” “Derrida says every archive makes a law, and the law of genre is its own rupture” (Bloch, 39). However, graffiti is an (non/anti)-archive of erasure due to (the politics of) washing out its subjectivity, which only adds onto (or is symptomatic of) its character. The inhibition of “reading graffiti as rapture, as rupture” is partly due to it being a “look-back” event in that it’s process involves scratching through layers to reveal previous specters underneath. Graffiti (as an ancient genre) has always been a thing of ‘becoming undone’, and therefore ‘belated and always in arrival’ (Levitsky). It’s a Dionysian activity done at night with it’s back turned toward us. "The specter [...] is of the visible, but of the invisible visible, it is the visibility of a body which is not present in flesh and blood [...] appearing for vision, to the brightness of day [...] something becomes almost visible which is visible only insofar as it is not visible in flesh and blood. It is a night visibility. As soon as there is a technology of the image, visibility brings night. It incarnates in a night body, it radiates in a night light" (Derrida & Stiegler, 115). (shrink)
The article is an attempt to uncover the metaphysical assumptions implicit in the otherwise highly scientific contemporary identity theories. 1) the identity statement, Being a philosophical interpretation of dualistic psychophysical correspondence, Requires for its support a justificatory ontological or linguistic premise. 2) the conception of the mental as the hidden, Unobservable, Subjective and private is a metaphysical distortion with historical roots in an empiricist and positivist interpretation of the cartesian dichotomy of thinking and extended thing. 3) acceptance of an artificial (...) dichotomy and reliance on a narrow conceptual framework lead identity theorists to misrepresent the nature of the mental-Physical relation and to see ontological reductionism as the only solution. 4) alternative explanations are possible which bypass the shortcomings mentioned and propose the irreducibility of mind to body without postulating a dualistic ontology; merleau-Ponty's and wittgenstein's theories are good examples of an ontological monism which allows for the reality and meaningfulness of the mental within the scope of the physical. (edited). (shrink)
Focusing on the way in which sexual difference is articulated in Sophocles' Antigone , I offer a reading that reverses the dialectic most commonly ascribed to the play. While most interlocutors of this classic tragedy connect its heroine to divine law and the private realm and see Creon as a representative of human law and politics, I trace what I call a Sophoclean reversal at the core of the play, suggesting that, through a series of negations and contaminations, things are (...) the opposite of what they seem to be. Using Hannah Arendt's distinction between the private and public realms as my main point of departure, I show how such a reading reveals the internal contradiction and inherent impossibility of a society whose foundation is the exclusion of women from political life. Such a society, just like Antigone, is an anti seed : it carries within it the necessity of its own downfall. (shrink)
Le film Coup pour coup de Marin Karmitz met en scène, peu avant la grève, une ouvrière en proie à la « crise de nerfs ». Tout en confrontant les représentations liées à la « crise de nerfs » aux réalités des années 68, il s’agit, dans une approche psychodynamique, d’analyser ce qui se joue dans le passage de la souffrance individuelle que constitue la « crise de nerfs » à l’identification puis à la résistance collective des ouvrières.
À travers une enquête qualitative par entretiens menée auprès des sportifs de haut niveau de l’INSEP, nous nous intéressons à leur rythme de vie qui articule des temps nombreux et variés : temps sportif, temps scolaire ou universitaire, temps professionnel, temps de récupération, temps de loisir privé et social, etc. Dans ce contexte il apparaît que leur temps objectif et leur temps subjectif ne coïncident pas toujours. Nous identifions à la fois une capacité générale de ces sportifs à gérer une (...) organisation temporelle particulièrement chargée, mais aussi de profondes variations d’un profil de sportif à l’autre, d’où l’idée d’une construction sociale du temps subjectif. Après avoir présenté l’organisation objective des temps à l’INSEP, nous analysons le poids de plusieurs facteurs sportifs et extra-sportifs pour expliquer cette disjonction et com... (shrink)