Sexualization might seem like a sympathetic explanation for sexting because it positions girls as innocent victims of mass culture. However, there are problematic unintended consequences with understanding sexting, the practice of sharing personal sexual content via mobile phones or the internet, in this particular way. One troubling implication is that it provides a rationale for holding girls who sext criminally responsible for producing child pornography. A second is that when girls' acceptance of sexualization is positioned as a key social problem, the solution that emerges is that girls must raise their self-esteem and gain better media literacy skills. Despite the value of such skills, a focus on girls' deficiencies can divert attention from the perpetrators of gender- and sexuality-based violence. Finally, discourses about sexualization often erase girls' capacity for choice, relying instead on normative assumptions about healthy sexuality. Interrogating the pathologization of girls' apparent conformity to sexualization and mass culture highlights the complexity of agency.
Amy Adele Hasinoff
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.
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?
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.”
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.
About the time I first encountered Robert McRuer’s Crip Theory: Cultural Signs of Queerness and Disability soon after its publication in 2006, I began to turn my research and teaching from queer theory toward disability studies and crip theory. Or, it might be more accurate to say that crip theory and disability studies began to infect my previous work in queer theory and dis-ease its trajectory. Rather than focus on carnality and desire as much as I once had, I began focusing on corporeality and 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 rather than capability or ability—with their links to energy, strength, power, and vitality—began to hold a more central place in my research and critical thought. I began rethinking what bodies do and what they do to us when we experience them, especially through screens.