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Dirty Hands and Suffering

Demetris Tillyris

banal sleaze but should be traced to a more disquieting concern: the problem of dirty hands (DH) – ‘a central feature of political life’ that ‘arises . . . systematically and frequently’ and questions ‘the coherence and harmony of the moral universe’ and

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In Defence of Democratic Dirty Hands

Christina Nick

Introduction Can politicians’ lying, deceiving and even ordering the torture or killing of another human being be compatible with democratic politics? Advocates of dirty hands (from here on referred to as DH) have tried to show that, in

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William Le Queux, the Zeppelin Menace and the Invisible Hand

Brett Holman

British society through what he called the ‘Invisible Hand’, which he identified with German-born men naturalised as British citizens. Neither aerial bombardment nor naturalised Germans had featured largely in Le Queux's prewar writing, but by resorting to

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“Hand-Me-Down Habitats”

Bicycles, Youth, and Open Space in the 1970s

Brian Frehner

Street. Photo taken by and courtesy of Tom Hand. Bicycle riding as a childhood rite of passage has largely diminished because fewer places exist to ride. Historian Adam Rome has made this point most powerfully and clearly in his study of the

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(Not) Made by the human hand

Media consciousness and immediacy in the cultural production of the real

Mattijs Van De Port

Taking its examples from the realm of popular religion and popular culture, this essay shows how sensations of im‐mediacy are sought and produced in a great number of fantasy scripts. Some of these scripts seek to undo media‐awareness: concealing or denying the involvement of the human hand they produce the sensation that one's imaginations are not human fabrications at all, but immanent to the world. Other scripts, however, flauntingly reveal the mediation process and the workings of the human hand in it. Yet on closer inspection, these latter scripts oftentimes throw into relief the moment where – all the awareness of the medium notwithstanding – the mediation process is transcended. The cases discussed help the author to ponder the place of the medium in what he calls ‘the cultural production of the really real’.

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One Hand Giveth, the Other Taketh Away

A Feminist Perspective on Polity, Religion, and Gender in the Pre-state Period

Hanna Herzog

rule over Palestine/EI and on the eve of the beginning of the British Mandate, the Haredim wanted to preserve their role as representatives of the Jewish community, on the one hand, and as the guardians of the Jewish religious character of the Yishuv

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‘I Did Not Wash My Hand for Days’

The Stuplime Return of Revolutionary Speech in the Republic of Guinea

Mike McGovern

Council for Democracy and Development (CNDD) junta's leader. As we paid for the ice cream, I looked up at the television in the corner to see Camara speaking animatedly to the camera. He placed his right hand on the Bible, his left on the Qur'an, swearing

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[I] ‘did write this Wyll with my own hand’

Simulation and Dissimulation in Isabella Whitney’s ‘Wyll and Testament’

Vassiliki Markidou

and its well-off citizens on the one hand, and the loci that are associated with the disadvantaged and socially marginalised inhabitants on the other. Thus, first the poem maps such sites as the metropolitan ‘Brave buildyngs’, ‘fayre streets’ and well

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The Violence of the Political and the Politics of Violence: Dirty Hands Reconsidered

Larry Busk

This article considers Sartre's perspective on political violence with reference to his 1948 play Dirty Hands. Focusing on the concrete political questions that confronted Sartre in his context, it traces the development and result of conversations with Merleau-Ponty, Camus and the Marxist tradition that shaped his thinking on this subject. At the end of this dialectical process, Sartre arrived at a position that refused both bourgeois humanism, with its disavowal of political violence, and what is here termed Official Communism – the prevailing Manichean politics of his day and the institutionalized repression that went along with it. In other words, he affirmed the violence of the political without by that token affirming the politics of violence. It is argued here that these conversations and this conclusion are dramatically illustrated in Dirty Hands.

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The Impossible Project of Love in Sartre's Being and Nothingness, Dirty Hands and The Room

Jean Wyatt

In Being and Nothingness (1943), Sartre explains love as a strategy for achieving control over "being-for-others," the objectified aspect of the self-imposed by others' defining looks. Two contemporaneous fictions by Sartre, The Room (1939) and Dirty Hands (1948), expand the notions of love and of being-for-others in surprising directions. Dirty Hands shows the creative, productive potential of being-for-others: Hugo's reliance on the other for his self-definition paradoxically generates his decisive embrace of being for-itself. The Room dramatizes the role of the family in constituting a child's subjectivity: Eve's family situation explains her ontological imprisonment in the dimension of being-for-others. The two stories' tolerant vision of the complex social and psychological reasons for adopting being-for-others as one's dominant modality contrasts with Sartre's rigorous critique of reliance on being-for-others as a form of bad faith in Being and Nothingness. The fictions' enlarged perspective on human love and on being-for-others provides a framework for complicating and critiquing the ontological categories presented in Being and Nothingness.