As an attempt to formulate epistemological boundaries (“que peut-on savoir d'un homme, aujourd'hui?”), for which Gustave Flaubert becomes a test-case, L'Idiot de la famille (1971-1972) can be seen simultaneously as the exemplification of a method and as a re-assertion and further development of Sartre's theory of subjectivity. This article proposes to approach the issue of Sartre's notion of human subjectivity in L'Idiot from the particular angle of the idea of “destiny.” It will be argued that the term “destin” provides a focal point for multiple visions of subjectivity as it contains at least three layers of meaning: firstly, Sartre's representation of Flaubert's idea of his life as predetermined destiny; secondly, Sartre's analysis of destiny as a situation created by others; and finally, an understanding of destiny which is close to the notion of the project. It will be argued that precisely the mutual interdependence of these terms is an expression of Sartre's conception of alienation and the possibility of freedom.
How Young Women Bargain with Patriarchy “On Road”
simultaneously in binary opposition to one another, derived, and socially constructed from the gendered spheres such as strength versus weakness and passivity versus agency. At the same time, they each can provide insights into one another's identities. It
Exploring Female Violence, Self-management, and ADHD
Hanna Bertilsdotter Rosqvist and Linda Arnell
cognitive disability, like ADHD, is invoked as a way to narrate a legitimate and less problematic girl position. In this study, we understand responsibility as being connected to gendered notions of passivity and activity. The position of a passive
Paul Gyllenhammer, Bruce Baugh, and Thomas R. Flynn
The articles in this section deal with two concepts from Sartre’s Critique of Dialectical Reason analyzed in the work of Tom Flynn. The first is the practico-inert, the materialized result of human activity that can turn that activity against itself, but which can also take on a positive and progressive role in history. It is this progressive role that Paul Gyllenhammer analyzes. Bruce Baugh’s article looks at Flynn’s analyses of how, in the Critique, the “third” mediates group praxis in such a way that it moves from passivity to activity but without fusing into a hyperorganism, and how this decisive shift accounts for “the revolutionary moment.”
Sartre's Resistance myth, The Flies (1943), and Camus's contemporaneous modern tragedy, The Misunderstanding (1944), show remarkable similarities in conception, composition, themes, characters, relationships and intrigue. However, from the moment when the plots converge—each protagonist choosing to remain in his precarious new situation—they also diverge diametrically: Camus's Jan is doomed to reified passivity and death; Sartre's Oreste is galvanised into decisive action and new life. Does Camus's orientation toward nihilistic despair translate a negative assessment of his war-time role as an intellectual, and Sartre's much more positive disposition equally represent his affirmation of writing as a valid resistance activity?
Theorizing Mobility through Modern Subway Dramas
This article begins from the premise that modern American drama provides a useful and understudied archive of representations of mobility. It focuses on plays set on the New York City subway, using the performance studies concept of “restored behavior” to understand the way that these plays repeat and heighten the experience of subway riding. Through their repetitions, they make visible the psychological consequences of ridership under the historical and cultural constraints of the interwar period. Elmer Rice's 1929 play The Subway is read as a particularly rich exploration of the consequences of female passenger's presumed passivity and sexualization in this era. The Subway and plays like it enable scholars of mobility to better understand the ways that theatrical texts intervene in cultural conversations about urban transportation.
Sexuality, Violence, and the Body (Politic) in Richard III
Building on Katherine Schaap Williams’s (2009) reading of the play, this article uses a disability studies approach to consider Richard Loncraine’s 1995 film adaptation of Shakespeare’s Richard III. Loncraine’s adaptation allows modern-day viewers to experience a highly visual (and often intimate) exchange with Sir Ian McKellen as Richard Gloucester. Specifically, Gloucester’s verbal claims of a disability that renders him unsuitable as a leader and a lack of sexual prowess are juxtaposed alongside sexually violent visual actions and imagery—particularly in the form of phallic symbols. The juxtaposition of verbal passivity in opposition to visual aggression demonstrates how Richard showcases or hides his disability as he pursues the throne: the first half of the film features Richard masquerading ability, while the second half features him masquerading disability.
Beauvoir, Sartre and Levinas on the Ageing Body
Kathleen Lennon and Anthony Wilde
. Such activity is what, for her, constitutes our distinctive humanity. We are most fully human when pursuing active, future-directed projects. In so far as the body necessitates a passivity, a mere existing, then the conclusion seems to be that we are
trauma and call upon readers to witness injustices committed at the intersections of race, gender, and age. Gilmore and Marshall's framework of understanding gendered trauma as inherently associated with the traditionally feminine ideal of passivity is an
vulnerability—what Emmanuel Levinas (2006: 64) describes as the radical passivity of being “for the other” without ever desiring such a responsibility, without having either force or intention, something I experience despite myself. Vulnerability, especially