Arguments in favour of strengthening the rights of victim–survivors in the criminal justice process have largely been made within the framework of a human rights perspective and with a view to meeting their procedural needs and minimising their experiences of secondary victimisation. In this article, however, I ask whether the prevalent legal arrangement, whereby victim–survivors are assigned the legal status of witnesses in criminal cases, with limited if any rights, is a just arrangement. In order to answer this question, the (...) article draws on interviews with 35 victim–survivors of sexual violence in Iceland. The interviews are presented against the backdrop of Nordic legal thinking and are interpreted in the context of Nancy Fraser’s democratic theory of justice. On the basis of the findings, I argue that assigning complainants the role of witnesses constitutes a case of misframing that results in misrecognition throughout the criminal justice process. (shrink)

Limited attention has been paid to the potential of tort law to address the harm of sexual violence. Based on interviews with 35 victim-survivors of sexual violence in Iceland, this study asks: How do victim-survivors understand monetary compensation? How can tort law meet victim-survivors’ justice interests? The findings suggest that in addition to the financial risk involved, most participants had ambivalent views towards pursuing and receiving monetary compensation. Many thought that, given their often extensive pecuniary and non-pecuniary losses, it was (...) only fair to receive compensation; but at the same time, they did not want to accept ‘dirty money’ they considered that pursuing monetary compensation could undermine their credibility, and monetary compensation only partially aligned with their ideas about justice. The findings are interpreted in the context of tort law theory, taboo trade-offs and survivor-centred justice. It is suggested that state intervention is needed to better meet victim-survivors’ justice interests. (shrink)

Mental time travel is the ability to mentally project oneself into one’s personal past or future, in terms of memories of past events or projections of possible future events. We investigated the frequency and valence of involuntary MTT in the context of high trait worry. High and low worriers recorded the frequency and valence of involuntary memories and future projections using a structured notebook and completed measures probing individual differences related to negative affectivity. Involuntary future projections were as frequent as (...) involuntary memories. We found a positivity bias for both past and future MTT, in that fewer negative events were reported than positive or neutral ones. This positivity bias was greater for future than for past events. Individual differences related to negative affectivity were positively associated with the proportion of negative events, indicating a reduced positivity bias in individuals with a general tendency to experience negative affect. (shrink)

In the Nordic countries, at a time when women have only recently won the right to their own bodies and to a sexuality of their own and for themselves, women nevertheless fake orgasms. Moreover, a .

A recurrent theme in contemporary narratives of grieving is that there is a gap between the griever’s more or less consciously chosen expression of, and acting out of, grief and loss and other people’s seeming lack of acceptance. Starting from the view that the social context of feelings and emotions are constitutive in making an emotional experience what it is, this article explores what is done and experienced in acts of grief. A phenomenological perspective is applied to analyze the conditioning (...) of these experiences, and what the acts of grieving may accomplish in relation to various aspects of the self, indeed selves—that is, in relation to the surviving relative as well as the deceased. (shrink)

This is a new release of the original 1945 edition.

The performance artists Florian Feigl and Fjóla Gautadóttir engage with production conditions of artistic work through their ways of managing time in performances. Informed by Marxist and feminist theories on affective and reproductive work, and with references to the history of performance art, I demonstrate how, contrary to myths of inspiration and virtuosity, production conditions co-create artistic authorship. Thereby, I reexamine what traditionally is termed as the aesthetics of production. An aesthetics of production is, I suggest, not about natural (...) talent and originality of the soloist artist genius but is founded on the interdependency of life and work, and what enables the artist to do work. Feigl and Gautadóttir’s performances include what has been excluded as disturbances by idealist aesthetics of production: the sociality, temporality and economy of the artistic work. By proposing a feminist-materialist aesthetics of production, I claim that the artist’s work is not only working by the numbers of the present production conditions, but is also performing and intervening within the infrastructures of art. (shrink)