In lieu of an abstract, here is a brief excerpt of the content:diacritics 30.1 (2000) 106-123 [Access article in PDF] The (Mis)Uses of Cannibalism in Contemporary Cultural Critique C. Richard King At least since 1979, when W. Arens demystified what he termed "the man-eating myth," cannibalism, once a fundamental feature of the anthropological imagination and a primary trope for interpreting cultural difference, has become subject to serious debate and lingering doubt [see Osborne]. Even as some anthropologists have sought to recuperate (...) anthropophagy as a tangible symbolic, ideological, and ritual complex [Brown and Tuzin; Conklin, "'Thus are our Bodies'"; Forsyth; Harris, Good to Eat 199-234; Sanday], a constellation of scholarly projects and popular works has complicated cannibalism by relocating it in the West. Perhaps most visibly, Hollywood cinema has reclaimed cannibalism. Although a handful of films have revived well-worn clichés of dark-skinned savages preparing to consume Westerners, as in King Solomon's Mines and Crocodile Dundee, others have cast the Western subject as cannibal to grapple with the horrors of reluctant cannibalism, as in Alive! [see Fiddes 121-31], to work through the transgressive and terrifying desires associated with psychopathic cannibalism, as in The Silence of the Lambs [Fuss; Halberstam], and importantly to parody the normative beliefs and behaviors of white, middle-class, heterosexual EuroAmericans, as in Eating Raoul and Parents. At the same time, an array of scholars, artists, and activists have invoked cannibalism to fashion critical perspectives on Western cultural practices. In his film Cannibal Tours (1987), Dennis O'Rourke encourages his audiences to think critically about tourists who travel to the Sepik River Valley to encounter reformed cannibals, asking implicitly who the cannibals are, the Melanesians who formerly (were thought to/claim to have) practiced anthropophagy or the tourists who travel to New Guinea to consume them [see Bruner]. Others have pushed the metaphor. Michael Ames, borrowing explicitly from O'Rourke, uses the cannibal to reframe ethnographic museums and their practices. Similarly, Jane Tompkins asserts that "Museums are a form of cannibalism made safe for polite society" [533]. More generally, Crystal Bartolovich playfully glosses consumerism as the cultural logic of the late cannibalism; bell hooks speaks of the EuroAmerican desires for and incorporation of things ethnic as "eating the other"; and Rosalind Morris suggests that cannibalism is the essential metaphor for late capitalism. More telling, however, are a set of overlapping critical projects that offer detailed theorizations [End Page 106] [Begin Page 108] of contemporary anthropophagy. Here, I will examine three that have had an important impact on discussions of tourism, museums, cultural appropriation, and consumption. Dean MacCannell, in an exciting exploratory review of the documentary Cannibal Tours, makes explicit what O'Rourke left unsaid: we are cannibals, and contemporary capitalism is neocannibalism. Perhaps more radically, Jack Forbes argues that Western civilization fosters cannibalism as an embodied, psychosocial condition or psychosis rooted in exploitation and consumption. Inspired at least in part by Forbes, Deborah Root rethinks Western civilization as cannibal culture.Although I am terribly sympathetic with these perspectives, particularly their political commitments and theoretical creativity, I am disturbed by the practices and effects that animate them. Indeed, as powerful as this critical field promises to be, it is at the same time troubling and dangerous. Although it defamiliarizes practices of cultural production and consumption, it does not enhance understanding of the contexts in which individuals and institutions deploy them and does less to effectively challenge or undermine them. In reframing beliefs and behaviors to accentuate productivity and power, it reinstates and reaffirms binaries and, worse, often turns on the same forms of appropriation.* * *Arguably, flesh eating has always promoted the elaborations of differences. Works central to the Western canon mobilize cannibalism to make (sense of) the world. Herodotus offers an early anthropophagic distinction:These Scythian husbandmen then occupy the country eastward for three days' journey.... Beyond this region the country is desert for a great distance; and beyond the desert Androphagi dwell.... The Androphagi have the most savage customs of all men; they pay no regard to justice, nor make use of any established law. They are nomads and wear a dress like a Scythian; they... (shrink)

"First edition published by South End Press 1991"--Title page verso.

_In this essay, I explore the meaning of place and geography as a Southern black woman philosopher. My reflections on these topics are informed by the work of bell hooks, a native Kentuckian who moved to the North and then back again to the South. I explore how bell hooks has helped me reconcile the racist history of the South with how I see myself today._.

pThis tribute to the late bell hooks examines her work as a Black feminist and Black Buddhist. After a brief introduction to her life, I examine her contributions to feminist thought, particularly her understanding of the need to dismantle “imperial white supremacist capitalist patriarchy.” As a Black feminist and woman, hooks comes to this work, first, with rage, but in her turn to Buddhist thought, she develops a love ethic, one that she wrote extensively about until her (...) death in 2021 of renal failure./p. (shrink)

In 2021, bell hooks, an African-American anti-colonial education and feminist educator, passed on. hooks’ passing coincided with the 40th publication anniversary of her book, Ain’t I a woman: Black Women and Feminism. Her passing, and her book’s 40th anniversary, present opportunities for reflecting on her ideas about education as an instrument of freedom in a world where racists and sexists historically used education as an instrument of oppression. It is important to examine hooks’ work in South (...) Africa considering that the year 2024 marks 30 years since the publication of her work, Teaching to Transgress: Education as the Practice of Freedom, coinciding with the 30th anniversary of South Africa’s attainment of democracy in 1994. Reflecting on hooks’ works on anti-colonial and Eurocentric education is of great importance considering that since 1994, South Africa has struggled with how to abolish the legacy of colonial and apartheid-driven education. Here, I examine hooks’ feminist pedagogy and teaching methods in the context of ancient Egyptian philosophy of education, reflecting on how hooks’ thinking resonated with her ancient African ancestors’ thoughts in confronting patriarchy. Simultaneously, I illustrate the relevance of ancient Egypt’s and hooks’ ideas on liberatory teaching methods in the continuing calls for a decolonised, anti-racist, anti-sexist and Afrocentric education in South Africa. Here, racist and sexist education is seen as a “disabler”, and decolonising teaching practices are seen as “enablers”. (shrink)

In this paper, I examine the ways bell hooks has adapted the model of liberatory pedagogy that Brazilian educator Paulo Freire expounded in Pedagogy of the Oppressed to the students one encounters in the significantly more materially privileged North American context. I begin with an overview of Freire's idea of educating the oppressed about oppression and then move to examination of the different, yet related, challenge that hooks is taking on: educating the privileged about oppression. I deploy (...) these analyses of emancipatory teaching in two different contexts, both grounded in a philosophy of love, in order to show the extent to which this theorizing has helped those of us who attempt to advance a progressive politics in wealthy and/or privileged societies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:MIMETIC VIOLENCE AND NELLA LARSEN'S PASSING: TOWARD A CRITICAL CONSCIOUSNESS OF RACISM Martha Reineke University ofNorthern Iowa In her recent essay, "Working through Racism: Confronting the Strangely Familiar," Patricia Elliot proposes that members of dominant groups who want to contest racism1 not only challenge economic, political, and social processes within society that produce racism, but also address personal claims they make on institutional structures which help to maintain it (...) (63). Sympathetic with an anti-racist strategy that concerns itself not only with racism at the institutional level but also with racism on a more intimate scale, Elliot nevertheless laments that individual complicity in racism is frequently attributed to aproblematic attitude. As a consequence, anti-racist work among members of dominant groups often is arrayed along a narrow spectrum: in workshops or in-service seminars participants attempt to identify and acknowledge biased and discriminatory views. Elliot fears that consciousness-raising efforts ofthis kind are unlikely to effect social change ifthose who participate continue to favor the confessional stance. Urging her readers to develop a "critical consciousness," a concept she takes from bell hooks (hooks 118), Elliot asks that members ofdominant groups who desire to promote social change not only combat institutional racism, but also divest themselves oisubjective investments in racism (63). Only as persons commit 1 Racism "involves the subordination ofpeople ofcolor by white people" (Rothenberg 6). Marked by discrimination and prejudice, racism entails also the exercise ofpower (conscious and unconscious, intentional and unintentional) by which white people maintain positions of privilege over persons ofcolor (Rothenberg 7). Martha Reineke75 themselves to a sophisticated and nuanced analysis of white complicity in structures of domination in order to grapple with racism at multiple levels—includingidentityformation, maintenance, and transformation—can members ofdominant groups actually tackle and begin to dismantle it (Elliot 63). Elliot's call to critical consciousness is laudable, but the goal she sets forth is not easily attained. As 1 struggle to achieve hook's critical consciousness of racism, like Elliot (64), I find difficult the task ofexploring the construction ofmy own identity as a white academic.2 For example, when I discuss issues in women's lives in the classroom or at professional conferences, I not infrequently am challenged by women of color who note that unexamined privilege (race and class) skews my perspective.3 1 also find myselfspeaking for others, assuming their voices, when I should speak only for myself. As a consequence, I regularly have cause to ponder whether, under the guise of contributing to anti-racistwork, I am appropriating others' voices in ways that reinforce racism rather than challenge it. For instance, on what grounds do I, a white woman, in this essay propose to address the problem of racism by reflecting on a novella written by an African-American woman? Does white privilege foreground my choice, precluding me from reading a work of literature in ways that might challenge rather than further racism? Grappling with these issues while reflecting on the theme of a critical consciousness ofracism, I find instructive the Girardian notion of mimesis. The dynamics of mimesis account well for agents of racism who, simultaneously recognizing and denying difference, act in ways that inhibit social and subjective transformation. Were members ofdominant groups to 2 Ofcourse, a professional affiliation is only one facet ofone's identity. I focus on that facet here because, through conversations with students about literature, I seek to contribute to antiracist work. 3Recent publications record similar conversations among women ofcolor and white women about white privilege. In White Women, RaceMatters: The Social Construction ofWhiteness, Ruth Frankenberg offers an ethnographic analysis ofthe dynamics ofprivilege in white women's lives. In The Color ofPrivilege: Three Blasphemies on Race andFeminism, Aída Hurtado offers a reflexive theory ofgender subordination which focuses on unwritten rules, inclusive of daily practices and psychological processes, that maintain power for whites as a group. Contributors to Who Can Speak? Authority and Critical Identity consider the ethics and political legitimacy ofspeaking as someone (e.g., a speaker identifies herselfas white, middleclass, and heterosexual before offering her views) oxfor someone (e.g., a white Canadian author writes first person accounts ofthe lives ofNative Canadian women but stops when a group of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Anger in a Perilous Environment:María LugonesMariana Alessandriin a hundred years, maybe our commonsense beliefs about anger will come from a distinguished line of Women of Color like Audre Lorde, bell hooks, and María Lugones, who make a case for listening to our anger instead of stifling it. But our ideas about anger still come from ancient Greek and Roman philosophers. Their stories about how anger works and (...) why it is bad have been dominant throughout history, and they are not kind to angry women in the twenty-first century. They have created a perilous environment for us, existentially speaking, by painting anger as irrational, crazy, and ugly. They have left us no way to handle our anger that does not amount to trying to control, suppress, or eradicate it. In this short paper, I contrast a philosophy of anger left to us by ancient Western philosophy with a contemporary one offered by Latina feminist María Lugones. Lugones offers a philosophy of anger that assumes it has something to teach us about our perilous environment.1Part I: Anger Seen in the LightPlato compared passions like anger to a hard-to-control, hot-blooded, black-skinned horse that must be reined in by the "charioteer" of reason (Phaedrus, ln. 253E). He thought we should use self-control to contain our anger, and he was not alone. The Roman Stoic Seneca, who described anger similarly, once told a story about Plato getting livid (Potegal and Novaco 9–24). Instead of beating one of his slaves, Plato froze, his hand drawn back in striking position. A friend asked Plato what he was doing. "I am making an angry man expiate his crime," Plato replied (Seneca, De Ira, Book III, section 12). Plato's freezing was his way of acknowledging that rage is weakness. Seneca formulated this scene into a principle: the only appropriate time to express anger is when you are not angry. Otherwise, you are a slave to your emotion. [End Page 23]I became angry during quarantine. I had been promised a year without teaching or administrative responsibility, but everything changed when the schools went remote. Since my kids were home anyway, I decided to home-school them. But I found myself becoming angry almost daily, and it was upsetting. To make sense of it, I went back to my philosophical sources.I consulted Epictetus, the Stoic philosopher whose Handbook I used to read every year. For the fifteenth time, he told me that "an uneducated man blames others; a partially educated man blames himself. A fully educated man blames no one" (13). While I could not control my circumstances in 2020—Epictetus granted that I did not have the power to end a pandemic or reopen schools—I could control my bursts of anger. Instead of blaming my spouse and kids for my troubles, I should blame myself for expecting life to be easier. Better yet, I should blame no one and accept the new normal gracefully. I also reread the Meditations of Marcus Aurelius, the second-century Roman emperor and Stoic who believed that yielding to anger is a sign of weakness (Potegal and Novaco 16). Marcus reformulated one of the central tenets of Stoicism: "Disturbance comes only from within—from our own perceptions" (38). His advice? Lower your expectations. Remember that the only person you can change is yourself. To that end, expect people to irritate you daily and you will be ready for it (17). For me, that meant remembering that having kids meant having messes. But expecting a mess did not clean the table every night, load or unload the dishwasher, or vacuum the crumb-riddled floor. Marcus did not send his servants to clean my house. So, I left him for Aristotle.Aristotle's soul was not a charioteer with horses, but it was tripartite: feelings, predispositions, active conditions. Feelings are hard to change, Aristotle thought, so let's not waste too much energy trying. Predispositions just name the likelihood of feeling a particular feeling. Both categories matter, but chiefly because self-knowledge is a philosophical virtue. Mostly, Aristotle urged us to cultivate our "active conditions." Forever a... (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

Bell hooks' work on pedagogy covers a great deal of material in very broad strokes. She relies on the work of John Dewey and Paolo Freire, often drawing upon their critiques of traditional educational models to criticize the values she claims drive current models of education. When hooks addresses critical thinking explicitly, she reorients critical thinking toward practical aims, specifically democratic social progress. In order to better understand the potential value of her approach, and the relationship between (...) critical thinking and democracy, I attempt to situate her conception of critical thinking as practical wisdom within current philosophical scholarship on critical thinking. (shrink)

Educational institutions, like the society in which they exist, may operate with racial, gender, and class biases that marginalize students whose cultural traits and characteristics differ from mainstream norms and practices. However, as bell hooks urges, education can provide the means to "transgress" conventional limitations and biases.

I pay tribute to bell hooks in this essay by reflecting on the multiple provocations she offers to me and my feminist philosophy students: on revolutionary vs. reform feminism; the need for self-love and healing in the quest for social transformation; and deeply entrenched racist and sexist barriers to multiracial feminist coalition building. I consider hooks’s position, within academic spaces, as a Black Feminist killjoy who distinctively rejects respectability while offering sanctuary to those, like me, who come (...) to theory from a place of pain. I conclude by raising questions about hooks’s approach to the relationship between theory and praxis, arguing that she envisions a radical critical praxis theory while acknowledging that there may have been some limits on her “revolutionary” love. (shrink)

This article engages bell hooks's concept of “radical black subjectivity” through the lens of the Buddhist doctrine of no‐self. Relying on the Zen theorist Dōgen and on resources from Japanese aesthetics, I argue that non‐attachment to the self clarifies hooks's claim that radical subjectivity unites our capacity for critical resistance with our capacity to appreciate beauty. I frame this argument in terms of hooks's concern that postmodernist identity critiques dismiss the identity claims of disempowered peoples. On (...) the one hand, identity critique has an emotional component, as it involves questioning the self and possibly letting go of aspects of that self in which a person has inevitably made emotional investments. On the other hand, it has an aesthetic component, as it opens a space for the creative crafting and recrafting of identity. Japanese aesthetics emphasizes that all aesthetic appreciation is accompanied by feelings of mournfulness, for the object of aesthetic appreciation is transient. Linking hooks's liberatory aesthetics with the resources of the Japanese tradition suggests that mournfulness in the face of self‐loss necessarily accompanies all instances of critical resistance. Thus non‐attachment becomes a useful framework in which to understand both the emotional and aesthetic components of empowered identity critique. (shrink)

Resumo: O aumento significativo de discursos de ódio e a violência contra minorias sociais revela a sala de aula como microcosmo de uma sociedade estruturada por políticas de violência colonial e patriarcal. Experiências de sala de aula evidenciam contradições que variam em torno de práticas de libertação e/ou dominação de corpos e mentes. O ensaio propõe uma discussão sobre as políticas de dominação e o processo pedagógico na perspectiva da intelectual, ativista social e crítica cultural bell hooks. Sua (...) concepção de educação deriva de sua própria experiência de opressão de classe, raça e gênero, culminando em seu projeto ético-político de educação. Partimos da perspectiva de que a experiência do corpo em sala de aula pode ser lócus privilegiado de reflexões críticas dos sistemas interligados de opressão. Palavras-chave: Políticas de dominação; Processo pedagógico; bell hooks. Politics of domination and the pedagogical process in bell hooks Abstract: The significant increase in hate speech and violence against social minorities reveals the classroom as a microcosm of a society structured by policies of colonial and patriarchal violence. Classroom experiences reveal contradictions around practices of liberation and/or domination of bodies and minds. This essay discusses the politics of domination and the pedagogical process from the perspective of the intellectual, social activist, and cultural critic bell hooks. Her conception of education derives from her experience of class, race, and gender oppression, culminating in her ethical-political education project. We start from the perspective that the experience of the body in the classroom can be a privileged locus for critical reflections on interconnected systems of oppression. Key-words: Politics of domination; Pedagogical process; bell hooks. Política de dominación y el proceso pedagógico en bell hooks Resumen: El aumento significativo del discurso de odio y de la violencia contra las minorías sociales revela el aula como un microcosmos de una sociedad estructurada por políticas de violencia colonial y patriarcal. Las experiencias en el aula revelan contradicciones que giran en torno a prácticas de liberación y/o dominación de cuerpos y mentes. El ensayo propone una discusión sobre las políticas de dominación y el proceso pedagógico desde la perspectiva de la intelectual, activista social y crítica cultural bell hooks. Su concepción de la educación deriva de su propia experiencia de opresión de clase, raza y género, culminando en su proyecto ético-político de la educación. Partimos de la perspectiva de que la experiencia del cuerpo en el aula puede ser un locus privilegiado de reflexiones críticas de sistemas de opresión interconectados. Palabras clave: Política de dominación; Proceso pedagógico; bell hooks. Data de registro: 18/05/2023 Data de aceite: 20/09/2023. (shrink)

O objetivo desde artigo é analisar a espiritualidade na educação em Paulo Freire e bell hooks. Trata-se de uma pesquisa bibliográfica que tem como fundamentação teórica: Freire, hooks, Oliveira, Boff, Dullo, entre outros. Considera-se nesta análise que os educadores percebem a educação como um processo de libertação de toda forma de dominação, a partir do diálogo, do desenvolvimento do pensamento crítico, da construção coletiva do conhecimento, da práxis e do respeito aos saberes e as experiências de educandos (...) e educadores. A espiritualidade tratada como pertencente à sala de aula de forma a garantir a integralidade, a inteireza do ser, espiritualidade que nutre a esperança na educação como prática de liberdade. (shrink)

Showing that a radical feminist analysis cuts across class, race, sexuality, region, and religion, the varied contributors in this collection reveal the global reach of radical feminism and analyze the causes and solutions to patriarchal oppression.

Debates about “populism” in recent years have used thin understandings of the term, which conceal theoretically richer possibilities. This essay explores the thicker understanding of populism developed in Christopher Lasch’s The True and Only Heaven and bell hooks’s belonging. In so doing, the essay suggests other roads forward for arguments about populism in America.

In 1927, Winthrop Bell inaugurated the teaching of phenomenology in the English-speaking world, with his course “Husserl and the Phenomenological Movement” at Harvard University. The seminar shows ways to introduce phenomenology to students who have a philosophical background, but who do not yet know phenomenology. Additionally, it reveals phenomenology’s relations to pragmatism, analytic philosophy, and the broader continental tradition. Bell, as the first Anglophone student who wrote his dissertation with Husserl, enjoyed a privileged access to his phenomenological (...) teachers, with whom he studied between 1911-1914, during the time of Husserl’s publication of the Ideen and Scheler’s publication of his Formalism in Ethics. Bell, relying not only on Husserl’s and Scheler’s books but on his own detailed notes from his studies with these founding figures, shows students the germination of the movement, and its most fundamental ideas: its understanding of the a priori and its relation to induction, the nature of intentionality, the relation of idealism and empiricism, along with studies of attention, fulfillment, and meaning. Given phenomenology’s important influences on the North American curriculum, attention to Bell’s seminar can show us how this influence begin, and why phenomenology has become and remained such an important influence in English and in North American philosophy. (shrink)

continent. 1.4 (2011): 286—310. This mad play of writing —Stéphane Mallarmé Somewhere in between mathematics and theory, light and dark, physicality and projection, oscillates the poetry of Alessandro De Francesco. The texts hold no periods or commas, not even a capital letter for reference. Each piece stands as an individual construction, and yet the poetry flows in and out of the frame. Images resurface from one poem to the next, haunting the reader with reincarnations of an object lost in the (...) grass or a representation of a pear in a Dutch still life, embedded in cycles of cinematic close ups and multiple dimensions. As a whole, De Francesco’s oeuvre suggests, to use the title of one of his works, a redefinition —linguistic, epistemological, personal. The poem The End (un’agenda) (The End (an agenda)) opens with a quote by literary theorist Maurice Blanchot, which may be translated as follows: Speaking is not seeing. Speaking frees thought from this optical imperative that in the Western tradition, for thousands of years, has subjugated out approach to things, and induced us to think under the guaranty of light or under the threat of its absence.[1] In writing, De Francesco seeks to redefine our approach to things. His poems, like Blanchot’s writings, speak to both illuminate and to obscure. The reader hangs in an absence of reality within language that necessitates an attempt at interpretation, yet renders such a search ultimately futile. De Francesco draws the anonymous images that appear in this poem from the city of Paris, his current home. The fragmented narrative depicts an inner doubt of realness, calling for a confirmation of a physical existence beyond verbalization and cogitation. Cyclical references to film throw into question the reliability of the reality he creates. The light, sometimes red and safe, other times absent and murky, cannot necessarily be trusted as a guaranteed means of illumination. Blanchot’s distinction between language and visualization, and the relationship of each to reality, though linked specifically to The End (un’agenda) , can be a lens through which to read any of the three works that follow. assente obliqua (absent oblique) is composed of descriptions of six still life paintings, ranging from Dutch masterpieces of the seventeenth century to 1960s minimalism. The actual images of the paintings are absent, and the text is the sole source and object of a virtual reality created around the artwork. “Absent oblique” refers to the light source placed outside of the frame, which both informs and distracts viewing of the scene. Although mere description can be unreliable and unsatisfying in its necessary limitation, the representational act of description is shown as more than just a human want. It is a need, a means by which to grapple with an unsure reality. As the illustrations progress, they descend into abstraction and chaos. The precariously placed plate triggers the movement: the bottle bursts and the objects collapse into the movement of a tracking film camera. corpo estraneo in moto ascensionale (foreign body in ascending motion) is prose poetry in action. Its objective tone of description is skewed by the subjectivity of the narrative as horrific images are relayed in fragmented but matter-of-fact manner. A “foreign body” is both a mass of cancerous cells, and a corporeal description, and the poem takes the reader on a journey back and forth between the two, destination unclear. Beyond a questioning of the real, corpo estraneo in moto ascensionale is an examination of the possible. De Francesco’s poetry becomes a camera obscura through which to observe the constant flux of light and dark that blurs our reality. His work is colored by the idea of apo koinou , a Greek term meaning “from the common” that involves a construction of two clauses with a shared word or phrase. Through such melting of meaning, De Francesco creates a fluid ambiguity that is nonetheless grounded in bodily concepts. In assente obliqua , the reader is confronted with a description of a still life that rapidly transforms into a more chilling scene: the membrane of the mushroom in the basket emerges behind the white cloth a body could hide itself that asks for help In the realm of pure description, there is a mushroom that peeks out from behind a white cloth in a basket. Behind the white cloth, too, there could be a body, hiding, asking for help. Such an elision elicits disorienting mistrust in temporality, but also expands the planar possibilities of syntactical meaning. A white cloth is not merely a construct in still life painting, but veil that both shields and reveals potential mysteries. It is a proposed alternative to a traditional Western binary of subjectivity and objectivity. The apo koinou construction is rare in modern English, having slipped out of use after its resurgence in Old English poetry. De Francesco reintroduces this blur of object and subject relations into a modern light. He draws inspiration from a device used by Gruppo 63 founder and avant-garde poet Antonio Porta tended toward repetition of phrases in third person perspective. In Italian, it is perfectly grammatically correct to omit the subject, including only a verb conjugation. Gender, even humanity unknown, the subject dissolves into the action, thus giving to the poetry the power to change the reader’s perception of who or what is actually acting. To further push the relative boundaries of experience, De Francesco expands his written poetry into what he calls “reading environments.” In these sound experiments, De Francesco’s voice reading his poetry is manipulated by real time digital voice processing. The written is transformed to the spoken, and then injected with currents of electric sound. “At each activation of word in the darkness,” (from The End (un’agenda) ) language is permutated into a nonphysical yet all-encompassing being. In these projects, realized all over Europe, De Francesco continues his examination of the word’s potency beyond the page and into an “n-dimensional space,” where the lines between nature and affect are intertwined. To publish excerpts of De Francesco’s oeuvre is to show screen shots of full-length film, to read pull quotes from a philosophy treatise. In these poems, there are questions, not to be answered, but to be questioned again. The words will oscillate in and out of the square construction found in his poems, out of the borders of the page, out of the rectangle of the laptop screen. NOTES (1) Blanchot, Maurice. The Infinite Conversation . Trans. Susan Hanson. Minneapolis: University of Minnesota Press, 1993. 27. EDITORS' NOTE The .pdf above contains about twenty pages of translation and the original Italian poetry. Below we provide only a brief account. The End (an agenda) Parler, ce n’est pas voir. Parler libère la pensée de cette exigence optique qui, dans la tradition occidentale, soumet depuis des millénaires notre approche des choses et nous invite à penser sous la garantie de la lumière ou sous la menace de l’absence de lumière. —Maurice Blanchot in this n-dimensional space i could spy on myself from the cracks while going back and forth from the summer to the wardrobe from the night to the parking lot but something filters in through the half-closed shutters becomes an event enunciation we stay without explanation like parallel curves on the back of a solid growing older she enters the garden always repeats certain phrases the elevator to be redone the neighbor’s music the steps the pavement furls like the leaves of a fern when touched she is framed from behind while she moves rocking she covers distances slowly a bag overflows from the wardrobe something stirs inside but then the suitcase comes open not even by my hand it’s the objects that are starting to filter out the little red haired monster watches idling the appointments written on one of your agendas two years old still seem urgent each letter holds itself upright on the page with flourishes and arabesques each angle has its own geography i’m trying to describe the path the fingers trace on the carpet the zipper takes the opposite route we are suspended on the stairs above the water in the center is the summer seen from above the darkness of the city passes from one headlight to the next the surfaces of our arms cohere and are shiny underneath the blinking of a sign each pore is an open expanse the body dreams the hair gives form to the possible some daring swimmers were throwing themselves into the seine they swam upstream up to the first quay look there could exist behind the screen a room where even when the lamp is out and the curtains drawn even when the suitcase wasn’t closed everything seemed red everything calm construction of a four-dimensional tetrahedron by R. Courant – H. Robbins, What is Mathematics? Oxford University Press, 1941  . (shrink)

Este artigo tem como objetivo destacar o impacto da metodologia da pesquisa arqueológica nas obras de Angela Davis (2016) e bell hooks (2023), respectivamente, “Mulher, Raça e Classe”, e “E eu não sou uma Mulher? Mulheres negras e feminismo”, que buscam reexaminar, de modo imersivo, a experiência e luta contra a violência da escravidão na história de mulheres negras. As intelectuais feministas negras estadunidenses abrem as portas para um pensamento científico menos tolerante à misoginia, ao racismo, e outras (...) formas de violências relacionais e institucionais, de modo a romper com a tradição da historiografia positivista. Trata-se de uma pesquisa documental, que contempla a análise crítica das referidas obras, com base no método filosófico pautado na investigação histórica de Michel Foucault (2008). Ressalta-se, então, a importância do reconhecimento dessas literaturas enquanto estimadas representantes e invasoras da arqueologia do saber, e a relevância de novas produções que possibilitem uma representação social coerente com a realidade dos discursos sobre a mulher negra, contribuindo para uma narrativa histórica contada pela pessoa oprimida, no intuito de abrir frestas para o efetivo rompimento com as epistemologias que legitimam e favorecem sistemas de opressão. Por meio de uma arqueologia da escravidão, para além das formações discursivas coloniais das práticas econômicas, políticas e sociais, as filósofas exploram as interconexões entre diferentes narrativas, revelando a complexa teia que sustenta as relações de poder, e como a marginalização é perpetuada. A conclusão direciona para a importância de reconhecer e valorizar as experiências das mulheres negras, destacando a necessidade de dar voz a essas narrativas historicamente silenciadas. (shrink)

This article maps out a pedagogical juncture of bell hooks's feminist theory of homeplace (hooks 2007) and Indigenous maternal pedagogies as liberatory praxis through a journey with Indigenous women's literatures. I position this work as a response to the call to transform feminist theorizing through Indigenous philosophies as articulated in a recent Hypatia special issue (Bardwell-Jones and McLaren 2020, 2). The article documents hooks's theory of homeplace as a space of resistance and renewal and shares insights (...) into Indigenous experiences of homeplace within historical and contemporary contexts of genocide, and the ongoing racialized and sexualized violence on Turtle Island. I discuss finding homeplace in Indigenous literatures by sharing a genealogy of Indigenous women's literatures as theorizing tools for engaging social change within academic spaces. To bring this work full circle, I offer Indigenous perspectives of homeplace, and the lessons gleaned from Indigenous women's literatures, as intentional work toward imagining Indigenous futurities. Indeed, connecting this work with liberatory pedagogical praxis imagines a site to establish homeplace in academic settings and empower students to engage in the kind of work that fosters and calls for safer homes, schools, and communities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 31.4 (2001) 11-21 [Access article in PDF] Alphonso Lingis's We—A Collage, not a Collective Alexander E. Hooke Alphonso Lingis. Abuses. Berkeley: U of California P, 1994. [AB]________. The Community of Those Who Have Nothing in Common. Bloomington: Indiana UP, 1994. [COMM]________. Dangerous Emotions. Berkeley: U of California P, 2000. [DE]________. Foreign Bodies.New York: Routledge, 1994. [FB]________. The Imperative Bloomington: Indiana UP, 1998. [IMP] For Walt Fuchs 1 Alphonso (...) Lingis is unabashed in his uses of we. He does not speak about a privileged we, an exemplary or hegemonic we, or "we." According to this American philosopher, the various ways critics qualify their references to first person plural (we, us, our) are unnecessary, if not unjustifiable. Their caution and skepticism about any direct use of we invariably lead one to focus on this important pronoun as if it were a rhetorical sleight of hand, an ironic twist, a sign of embarrassment or elitism. Worse, their gradual cynicism diminishes or derides the reality of those whose contact with others can only be articulated in terms of we or our. Thus readers, and students subject to these theoretical reservations, are tempted to circumvent any substantive meaning to first-person plural in their own reflections and research. Given the persuasive charms of these reservations, to admit a genuine or lived we involves the risk of being charged with superficiality, a lack of sophistication, nostalgia, or political naiveté. 1In the face of this risk, Lingis writes in first-person plural without apology. Seemingly oblivious to the ongoing controversies over any legitimate use of we—as if it connoted self-indulgence or self-delusion, Lingis depicts experiences and contacts that embody a substance to first-person plural. These contacts are presented directly and with little hesitation, as they often move one to awaken to daring, brazen, or unfamiliar individuals in their contexts and surroundings. To present them requires an air of innocence to the extent that the contacts appear as new to the writer as they are to the reader. [End Page 11]They encompass more than surprise and spectacle. They also initiate beliefs and emotions that embrace other truths: unfamiliar expressions of gods, strange forms of human commitments, eccentric relations humans have with the past and future, but also with animals, trees, and unseen spirits. These truths evoke the kinds of genuine goods and values that are better conceived not as potential instantiations or counterexamples to our generalizations and conventions, but rather as compelling additions to our own senses of reality and truth.In writing about we or us, however, Lingis also raises some critical stakes. While conversant with most of the influential figures and themes discussed under the postmodern rubric, Lingis extends their central ideas to new levels and fields of inquiry. Instead of scrutinizing the uses of first-person plural or maintaining a respectable distance from them, his philosophical endeavors are distinct insofar as they address: How do we, he and his audience, respond to the many kinds of contact that are readily dismissed insofar as they overlooked in our scholarly and philosophical endeavors? What might these other uses and realities of the first-person plural say that affirm, question, or contest us? Can his own work, lucidly presented in five recent books, contribute to contemporary discussions about the possibilities and pitfalls of human relations, cultural and political entities, social and biological communities, and the theoretical or critical reflections on them? 2 Lingis's answers are guided by looking at we more as a collage and less as a collective. A collage, unlike a collection, emphasizes or highlights the unpredictable ways that humans and other life forms come together. The use of we as a collective—whether the result of unconscious drives, chosen ideologies, an intersubjective ethic, or rational communication acts—emphasizes certain values, particularly those that help us to distinguish whether the experiences of we can be understood or appreciated in terms of true or false, good or bad, genuine or superficial, beautiful or ugly, familiar and significant terms for making judgments about moral, social, and... (shrink)

In this interview, Judith Butler speaks about her most recent work, especially Excitable Speech, in terms of how it represents a continuation of certain themes and how it represents moves into new terrains of debate. In particular, she addresses both possible critiques of her work, expecially around the issue of the possibility of political visions and the attention to speech when theorizing subjectification, and responds to questions around certain related themes such as: just what is the possibility of using the (...) same analytical framework to talk both about racializing and gendering processes? How useful is the concept of melancholia? How are textuality and visuality interconnected? (shrink)

This essay argues that diversity needs to be practised. Drawing insights from two thinkers who saw themselves as educators, Dōgen and bell hooks, I single out three steps towards practising diversity in a learning community. I make two concrete recommendations for each step. Step One involves trying to understand the other in their own terms, by becoming informed about the frameworks that play a role in their experience. Step Two guides us to listen to every unique other and (...) receive their story, in such a way as to put them, instead of ourselves, in the centre of our attention. In Step Three, we engage in dialogues that do not consist in a series of monologues but of calls and responses, in which we practise to respond to each other in an attuned way, and to take responsibility for co-transforming each other and our shared world. (shrink)

Este livro é uma coletânea internacional, transdisciplinar, formada por capítulos de pesquisas na pós-graduação por pesquisadores(as) de várias áreas do conhecimento que celebraram os cem anos de Paulo Freire, em 2021. O legado de Freire é articulado nesta obra com os estudos da Análise Institucional, com a Filosofia da Diferença e a educação como prática de libertação e transgressão. Também se materializa, neste conjunto de textos com autoria de vários países, uma homenagem in memoriam a Gregório Baremblitt, que faleceu em (...) 2021 no Brasil, e deixou importante trabalho de formação em Esquizoanálise, Esquizodrama e Análise Institucional no país, com ressonâncias relevantes em todas as regiões brasileiras, em diversas áreas e profissões, pesquisas e docências. Ainda, faz-se uma homenagem in memoriam a bell hooks, com iniciais minúsculas como resistência da autora. Ela também faleceu em 2021, deixando um consistente trabalho para diversas áreas e com intensa conversa com Paulo Freire. Portanto, este livro é marcado por afeto, lembranças, memórias, homenagens e celebra a importância de Paulo Freire, Baremblitt e bell hooks na relação com Guattari, Deleuze, Análise Institucional e Esquizoanálise. Em 2022, nos lembramos de Félix Guattari, que faleceu há 30 anos, em novembro, e que esteve várias vezes no Brasil. Guattari, assim como Paulo Freire, Baremblitt e bell hooks lutou e pensou por multiplicidade e com movimentos sociais libertários. Assim, este é um livro com apostas políticas, éticas e estéticas de afirmação de uma educação libertária e que desenvolve práticas materialistas marcadas pelas perspectivas polissêmicas, polifônicas e dialógicas"--Cover page 4. (shrink)

Seventeen essays on the ways racism and sexism have intersected and buttressed each other in the United States. They include: "I just see people"--exercises in learning the effects of racism and sexism; conjuring race; reflections on the meaning of white; changing the subject--studies in the appropriation of pain; hard-to- handle anger; and the problem of speaking for others. Paper edition, $22.95. Annotation copyright by Book News, Inc., Portland, OR.

Inside Notes From the Outside wrestles with issues that have loomed over anyone who has had to come to terms with concrete, pragmatic questions regarding identity within the interacting spheres of race, gender, class, and power. Based on the premise that discourse regarding these issues tend to be cast into a relationship of powerful vs. powerless, the author contends that power is not a fixed thing, but a subtle, complex matrix that shifts over time. A thoughtful approach toward issues of (...) cultural difference, Inside Notes From the Outside provides a sincere and uniquely interior perspective on identity formation. (shrink)

Modes of engagement. The reader may engage with this article in several different modes. It could be approached in straightforward, if quirky, sociological mode as an exploration of the idea that the literature on post‐divorce arrangements and step‐families, and especially literature, that attends to children's contact with their non‐resident fathers, can be re‐read in order to consider the issue of contact via communication technologies, a form of parent‐child contact not captured in the ways that ‘contact’ is measured in present studies. (...) Of interest in itself, perhaps, this point of entrance opens up onto further questions about the management of human affect, and how rearrangements in lines of affect have reverberations beyond those captured by an Oedipal model, insofar as they are not about contact and severance but are various kinds of displacement for all involved. In particular, I am concerned here with the rearrangement of affect for the fathers as their role becomes dispersed, shared and intermittent, a set of problematics that also includes the various ways in which the very body of the mother is removed or circumvented. On a second level the article speaks to a different literature, in that it is an elaboration of the notion of the network as a dispersed hybrid that entails both human and non‐human entities, within which any absolute distinction between human and non‐human is to be prob‐lematised but, I wish to argue, without losing the specificity of human interaction, that is, the questions of human emotion, human desire and human ethics. This elaboration moves toward a critique of the very ubiquity and endless utility of the network idea through the suggestion that its appeal may conceal moments and movements where more unexpected effects are taking place. Indeed, I suggest that there may be some twists in the familial dynamics of ‘households that no longer hold’, where some selected thoughts from a reading of Deleuze and Guattari, specifically around the notion of ‘becoming’, may lead one to read other stories than that proffered through the master trope of the network, ones that are maybe closer to some of the original impulses behind actor‐network theory. And thirdly, the article may be engaged as a reflection on contemporary ways in which familial life is governed in contemporary Britain. The family as both a site of economic arrangements and a site of the arrangement of human affect‐sexuality‐reproduction, are held together and in tension through forms of contemporary government of the family. Contemporary rationalities of familial morality seek to make its members responsible parents without intervening to the extent that they would seek to make them responsible spouses, seen here in the implication that fathers' economic responsibilities for children are not co‐extensive with their emotional connections to women.1 As opposed to any other familial figure ‐ such as the pater familias or the mother of Donzelot's thesis ‐who may have been the link between family and government, it is through the promotion of the figure of the child that familial life is presently and predominantly governed. It is my contention here that it is through the promise of non‐government that a notion of an ethical parent is promoted, whose duties to his children and his nation‐state should mean that the former should not need to be dependent upon the latter. Alongside other policies that seek to simultaneously promote familial life and paid work‐life through the notion of the ethical citizen, and the attendant judgements of those dependent on welfare state provision, contemporary policies surrounding the household that no longer holds expose the various and contradictory modes by which families are ‘made up’ within contemporary regimes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Pairing breaths:Rabah Ameur-Zaïmech's Terminal Sud (2019)Marion Froger (bio)Translated by David F. BellAsphyxiaNever had I felt such a sense of suffocation watching a film by Rabah Ameur-Zaïmeche.1 The poisoned atmosphere of Terminal Sud (2019) recalls the atmosphere of the Algerian War (1955-1962) and that of the decade of darkness (1991-2002) in that country. The filmmaker chose not to make a historical film, however, but rather a dystopia that fuses together (...) periods and places. The story appears to be contemporary, in a country bathed in the colors of southern France, apparently in the grip of all the violence that French and Algerian memories are nowhere near forgetting.2 Bandits wearing combat uniforms, policemen wearing outfits sporting an acronym that strangely resembles one used by Islamist Algerian groups,3 and generals evoking the French putschists of 1961 all fight against each other—ransoming, threatening, kidnapping, killing, and torturing the local population. Meanwhile, out in the countryside, guerrillas (maquisards4) try to care for their dying leader, like North African freedom fighters (fellagas) were doing before them, and this in turn evokes French Resistance fighters in the 1940s. The film's work on confused memories, which, according to Thierry Kuntzel, is related to the condensation, overdetermination, and displacement of dreamwork, transforms being out of breath into a symptom that hounds the doctor, played by Ramzy Bédia ("Inhale…Exhale…Inhale again…Hold your breath…Exhale"), a state of the world in the form of a trap that threatens to suffocate him—and launches the quest for a filmic poetics of calm through the pairing of breaths.Peeling façades with tightly closed doors, lowered metal shop shutters, narrow and tense streets: the doctor, his wife Hazia, and their family slip outside in fear of kidnapping and gunfire, climb up stairs breathing heavily, anxiously await by the window, their bodies obscured in starkly contrasting shadows cast by glaring light, hug each other with endless sighs. As they share their grief, they have barely enough breath left to sing to the memory of someone who has disappeared,5 as if after an argument, [End Page 244] when everything has been said and all that remains is a strangled sob serving as last farewell.The film opens with an attack on a minivan used for public transportation: bandits, who could be soldiers, steal everything from the passengers and driver. The doctor sees his patients in a rundown hospital, treats a woman whose breathing is raucous, her voice taut with anxiety, and who speaks about the disappearance of her husband. Back home, he finds anonymous letters containing death threats and, to calm down, he searches for his breath by taking a deep drag from a cigarette and a swig of whiskey. "I can't take it any longer, I can't even stand up, I can't do anything, I'm at the end of my rope, I'm tired […] Is that what our country has become?" he confides to a friend several hours before losing, in the emergency room, his wife's brother, a journalist assassinated in front of his house. "Stay with me," he says as he runs beside the stretcher calling for help, "Breathe, breathe."The spasmodic breathing of Ramzy Bédia, provoked by the fear, effort, and pain that define his character, intensifies as the film progresses. He barely breathes in the car taking him to treat the rebel leader; he is running out of breath beside the leader's bed as we hear the death rattle and as Bédia shouts to the leader's comrades, "Give him some air, everyone get out!" Later, one of the policemen standing guard at the entrance to the hospital will be mortally wounded by a kamikaze attack and will die on the operating table despite the doctor's exhausting reparatory manipulations. Asphyxia will ultimately directly threaten the doctor after his arrest. Tied to an old bedspring, he will be tortured by electroshock,6 will attempt one last time to justify himself to a soldier who wants to know everything about the rebel leader the doctor has treated, and will nearly suffocate in his... (shrink)

This article reflects on context effects in the study of behavioral ethics and organizational justice. After a general overview, we review three key challenges confronting research in these two domains. First, we consider social scientific versus normative approaches to inquiry. The former aims for a scientific description, while the latter aims to provide prescriptive advice for moral conduct. We argue that the social scientific view can be enriched by considering normative paradigms. The next challenge we consider, involves the duality of (...) morally upright versus morally inappropriate behavior. We observe that there is a long tradition of categorizing behavior dichotomously rather than continuously. We conclude by observing that more research is needed to compare the dichotomous versus continuous perspectives. Third, we examine the role of “cold” cognitions and “hot” affect in making judgments of ethicality. Historically speaking, research has empathized cognition, though recent work has begun to add greater balance to affective reactions. We argue that both cognition and affect are important, but more research is needed to determine how they work together. After considering these three challenges, we then turn to our special issue, providing short reviews of each contribution and how they help in better addressing the three challenges we have identified. (shrink)

This article concerns the striking photograph of a young man, Fernando Brodsky, taken shortly after he was kidnapped in Argentina in 1979. Brodsky was detained in the notorious Escuela de la Armada in Buenos Aires, and remains disappeared. The negative of the photograph was smuggled out of ESMA and the image became part of a bundle of photographic evidence submitted by families of the disappeared during the trials of the military after the return to democracy in 1983. This article seeks (...) to understand the vitality of the photograph, the different courses it takes, the archives it joins and leaves, asking: ‘What sort of life can the photograph have? What sort of desire? What sort of politics?’ The article proposes that we might consider the role of such images ‘biopolitically’, which is to say in the context of the relations established through the attempts to govern populations in times of military rule and in times of transitional democracy. The re-appearance of Fernando in the photograph is part of post-dictatorship politics in which the demand ‘ aparición’ resounds. Fernando, an absolute witness who does not, who cannot, speak nevertheless re-appears in the law courts and in art exhibitions. The article considers the difference between the photograph’s appearance as evidence and its reappearance in the art galleries, arguing that its ‘desires’ can be imagined differently in each. The article argues that while the photograph does not escape archives tout court, in raising the question of how it should be filed, it prompts reflection on the biopolitical present, with its inequitable distribution of life and security among populations. This is a politics of the present, more than it is a politics of memory. (shrink)

Dear Jacques Derrider,Today is my birthday. I received a considerable number of messages, almost all written and sent by computer programs. Because most of my contacts have died, or else they are too busy to write me.I'm not bothered by the fact that these letters were written by programs. I am troubled, however, when they remind me of all of those who have died. And especially when I am no longer able to distinguish between the programs that speak for the (...) living and those that speak for the dead.These digital mummies are called necrobots. The archive of conversations of the deceased person serves as a training database for a neural network. Once it is deployed in the email and social network accounts of the... (shrink)