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Jablonka et la question du sujet en sciences sociales

Le cas de Laëtitia ou la fin des hommes

Nathan Bracher

Abstract

With its compelling portrait of a young woman who was savagely murdered after having endured various forms of male violence throughout her life, Ivan Jablonka’s Laëtitia ou la fin des hommes also provides a stark depiction of French society and politics in the second decade of the twenty-first century. In deconstructing the sensationalism of the conventional crime story, the researcher-narrator seeks to draw as near as possible to the vivacious, yet fragile young woman while at the same time viewing her life in relation to various sociological and historical contexts defining its parameters. Jablonka’s own singular investment in the investigation and narration of Laëtitia thus poses the question of subjectivity in the social sciences. Recalling the landmark stances of Claude Lévi-Strauss and Emmanuel Lévinas, this article argues that Jablonka’s insistence on the explicit intervention of the researcher-narrator offers an epistemological gain and more precise knowledge.

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Jeffrey Herf

George Mosse wrote European intellectual and cultural history in a way that recast its meaning. Because he did so without a specific theoretical program, the extent of his accomplishment in this regard at times went unnoticed. He was a member of the remarkable generation of European refugee historians who together formed the core of the American study of European culture and ideas in the postwar era. For his contemporaries, such as H. Stuart Hughes, Peter Gay, Leonard Krieger, Carl Schorske, and Fritz Stern, writing European intellectual history meant two things. First, it was a salvage operation, an effort to recall and preserve the traditions of humanism and liberalism destroyed by fascism and Nazism. Second, and related to that task, it entailed writing about other intellectuals—philosophers, social theorists, and novelists and artists of the first rank—who represented the best that had been thought in Europe.

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Frank P. Tomasulo and Jason Grant McKahan

Although the extant scholarly literature on the cinema of the late Michelangelo Antonioni has often valorized his use of images and mise-en-scène to explore themes and reflections on humanism and alienation, few have examined the means by which the director conveyed ideas on psychology and sexuality in modern life and Italian culture. This article considers Antonioni's "trilogy"—L'avventura (The Adventure, 1959), La notte (Night, 1960), and L'eclisse (Eclipse, 1962)—in light of the modernist project, especially with regard to the conjuncture of psychology and sexuality within the historical context of the 1960s and the sexio-psychological discourses of that period. Finally, Antonioni's worldview is investigated, particularly as it pertains to his stated concept of malattia dei sentimenti, or "Sick Eros."

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Dana Currier Penser la famille au XIXe siècle (1789-1870) by Claudie Bernard

Emmanuelle Saada The French Imperial Nation-State: Negritude and Colonial Humanism between the Two World Wars by Gary Wilder

Amelia H. Lyons Policing Paris: The Origins of Modern Immigration Control between the Wars by Clifford Rosenberg

Gisèle Sapiro Robes noires et années sombres: Avocats et magistrats en résistance pendant la Seconde Guerre mondiale by Liora Israël

Nicole Rudolph Riding the New Wave: Youth and the Rejuvenation of France after the Second World War by Richard Ivan Jobs

Donald Reid Francis Jeanson: A Dissident Intellectual from the French Resistance to the Algerian War by Marie-Pierre Ulloa

Arthur Goldhammer Modernisation et progressisme: Fin d’une époque, 1968-1981 by Pierre Grémion

Philippe Steiner Inherited Wealth by Jens Beckert

Mary Dewhurst Lewis Why the French Don’t Like Headscarves: Islam, the State, and Public Space by John R. Bowen

Kimberly J. Morgan Differential Diagnoses: A Comparative History of Health Care Problems and Solutions in the United States and France by Paul V. Dutton

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Editorial

Screening Vulnerability

Brian Bergen-Aurand

. Notes 1 Levinas 2006: 63 . 2 www.screenethics.com . 3 www.lianainfilms.com . References Levinas , Emmanuel . 2006 . “ Without Identity .” Humanism of the Other , trans. Nidra Poller. 58 – 70 . Urbana, IL : University of Illinois Press . McRuer

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Richard Ivan Jobs, Judith Surkis, Laura Lee Downs, Nimisha Barton and Kimberly A. Arkin

Césaire and Senghor’s alternative conceptions of decolonization, from departmentalization to federalism. These paradoxes—a plural Republic, pragmatic utopianism, embodied humanism, rooted universalism, and postnational democracy, to name a few—are not, for

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Linda Howell, Ryan Bell, Laura Helen Marks, Jennifer L. Lieberman and Joseph Christopher Schaub

; it also examines the viral video Kony 2012 to establish how social media has come to stand in for human connection and political action. In this final section, Bollmer explains the stakes of “technological humanism”—a concept that he introduces in

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Steven Eastwood

human norm.” Rather than a humanism that has had troubling attitudes toward developmental disorders and disability in the past (eugenics), post-humanism offers a potentially radical space for autism, one that rejects the cliché of the autistic brain as

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Jane M. Kubiesa, Looi van Kessel, Frank Jacob, Robert Wood and Paul Gordon Kramer

replications, the collection succeeds in drawing from a varied and wide-ranging field of criticism to produce a well-rounded and highly informative text. Editors Andrea Wood and Brandy Schillace, from the disciplines of media studies and medical humanism

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The Left Party and the AfD

Populist Competitors in Eastern Germany

Jonathan Olsen

party calls for a return to deutschen Leitkultur (dominant German culture), which is said to rest on Christianity, antiquity, Humanism, and the Enlightenment, while rejecting any attempt at fostering a pluralistic multicultural society. Consistent with