‘I am tired from all of these feelings’: Narrating suffering in the film Sick

2018 ◽  
Vol 17 (1) ◽  
pp. 69-83 ◽  
Author(s):  
Senka Božić-Vrbančić ◽  
Renata Kokanović ◽  
Jelena Kupsjak
Keyword(s):  
Public Sphere ◽  
Documentary Film ◽  
The Political ◽  
Specific Reference ◽  
Lesbian Woman ◽  
Institutional Violence ◽  
Political Critique ◽  
Emotional Relationships ◽  
Pain And Suffering ◽  
Political Question

This article explores ‘the politics of sentimentality’ with specific reference to the documentary film Sick, which represents the narrative of a young lesbian woman, Ana, who was confined in a psychiatric hospital in Croatia and ‘treated’ for her homosexuality. We consider the ways our most intimate emotional relationships and states, such as pain and suffering, articulate with a wider context of familial citizenship and critically examine the political limits of compassion within the sentimentalised public sphere. In this analysis, we problematise the film’s emotional logic, which presents an individualised narrative resolution at the expense of dwelling on the political question of institutional violence. We examine the role that politics of sentimentality plays in neutralising the film’s political critique of the state apparatuses (psychiatry and family) that enforce heterosexual norms.

scholarly journals Look at me, I’m on TV: the political dimensions of reality television participation

2021 ◽  
pp. 016344372110369
Author(s):  
Bethany Klein ◽  
Stephen Coleman
Keyword(s):  
Public Sphere ◽  
Reality Television ◽  
Social Issues ◽  
Electoral Systems ◽  
The Political ◽  
Democratic Representation ◽  
Political Dimensions

It has been over 20 years since the reality television genre attracted the attention of fans, critics and scholars. Reality programmes produced high viewing figures, suggesting a strong appetite for the form; critics dismissed the programmes as mindless and the participants as desperate for fame; and scholars assessed the formats, audiences and meanings of reality television, offering a complex, if rarely celebratory, account. While some commentators and scholars made connections between vote-based formats and electoral systems, or between opportunities afforded audiences for the deliberation of social issues and the idealized public sphere, the civic dimension of participation itself has not been explored. In this article, we take a closer look at reality television participants, drawing on press interviews and coverage in order to highlight how participants enact representative performances that might supplement more formal modes of democratic representation.

The Chaste Parricide: Murder, Femininity and the Subversion of Authority in the Reception of the First Performance of Shelley’s The Cenci, 1886

2017 ◽  
Vol 44 (2) ◽  
pp. 192-211
Author(s):  
Lee Michael-Berger
Keyword(s):  
Social Context ◽  
Sixteenth Century ◽  
Public Sphere ◽  
Mass Culture ◽  
The Political ◽  
Political Debate ◽  
The Public ◽  
True Story ◽  
The Public Sphere

The story of The Cenci’s first production is intriguing, since the play, based on the true story of a sixteenth-century Roman family and revolving around the theme of parricide, was published in 1819 but was denied a licence for many years. The Shelley Society finally presented it in 1886, although it was vetoed by the Lord Chamberlain, and to avoid censorship it had to be proclaimed as a private event. This article examines the political and social context of the production, especially the reception of actress’s Alma Murray’s rendition of Beatrice, the parricide, thus probing the ways in which The Cenci question was reframed, and placed in the public sphere, despite censorship. The staging of the play became the site of a political debate and the performance – an act of defiance against institutionalised power, but also an act of defiance against the alleged tyranny of mass culture.

Reason, Development, and the Conflicts of Human Ends: Sir Isaiah Berlin's Vision of Politics

1980 ◽  
Vol 74 (1) ◽  
pp. 38-52 ◽  
Author(s):  
Robert A. Kocis
Keyword(s):  
Moral Development ◽  
Human Nature ◽  
Human Dignity ◽  
Active Participation ◽  
Human Interaction ◽  
Human Values ◽  
The Political ◽  
Positive Liberty ◽  
Political Question

At the root of the conflict between Berlin and his critics is a fundamental disagreement over the possibility of certainty and over the relation of human ends to politics. Gerald MacCallum's formalist critique obscures the political question of whose values a free person is at liberty to pursue. Macpherson's attempt to defend positive liberty as not rationalistic is shown to fail because he (a) conflates liberty with its conditions and (b) assumes a rational pattern to human moral development. And Crick charges Berlin with ignoring politics, understood as active participation in the polis. Finally, Berlin's conception of politics as a form of human interaction aimed at creating the conditions of human dignity in a situation where we sincerely disagree over the ends of life is shown to be an effort to liberate us to live life for our own purposes. Yet Berlin's defense of liberty is problematic because it is too skeptical; to overcome this difficulty, a non-teleological yet developmentalist account of human nature and a weakly hierarchical account of human values is suggested.

scholarly journals The Political Stakes of Academic Research: Perspectives on Johannesburg

2005 ◽  
Vol 48 (2) ◽  
pp. 87-109 ◽  
Author(s):  
Ivor Chipkin
Keyword(s):  
Inner City ◽  
Political Institutions ◽  
Academic Research ◽  
The Political ◽  
Political Equality ◽  
Research Perspectives ◽  
Shift Analysis ◽  
Demographic Shifts ◽  
The City ◽  
Political Question

Abstract:This article considers a burgeoning literature on Johannesburg from the perspective of the sorts of questions it asks about the city. There is a substantial and lively literature on questions of poverty and equality, class and race. These studies are strongly informed by the idea that the mechanisms that produce such inequalities are key to understanding the nature of Johannesburg as a city: in terms of how its economy works and how political institutions function, but also in terms of what sort of city Johannesburg is and can be. I consider sociological and economic studies of the inner city that try to account for demographic shifts in the inner city and for processes of social and physical degeneration. I review urban anthropologies of inner-city society, considering in particular new forms of social and economic organization among inner-city residents. Related to these, I discuss debates among scholars about the prospects for governing the city, paying special attention to the consequences for such readings on partnerships. I also discuss an emerging literature, critical of that above, which seeks to shift analysis of the city toward studies of culture and identity. These literatures do not simply approach the city through different disciplinary lenses (sociology or economy or anthropology or cultural studies) . They come to their studies from different normative perspectives. For some, the key political question of the day is one about social and political equality in its various forms. For others, it is about the degree to which Johannesburg (or Africa) is different from or the same as other places in the world. This paper has tried to bring to the fore the political (and not simply policy) consequences of these different views. It concludes not by seeking to reconcile these perspectives, but by suggesting a way of retaining a commitment to equality and justice while not reducing them simply to questions of economy. At stake, I argue, are questions of democratic culture and of sociability.

scholarly journals Heiner Goebbels's Stifters Dinge and the Arendtian Public Sphere

2019 ◽  
Vol 5 (1) ◽  
pp. 109-127
Author(s):  
Luke Matthews
Keyword(s):  
Public Sphere ◽  
Participatory Democracy ◽  
The Political ◽  
The Public ◽  
Collaborative Working ◽  
The Creation ◽  
The Public Sphere ◽  
Working Processes

Heiner Goebbels’s works are examples of “postdramatic” theatre works that engage with the political by seeking to challenge socially ingrained habits of perception rather than by presenting traditional, literary-based theatre of political didacticism or agitation. Goebbels claims to work toward a “non-hierarchical” theatre in the contexts of his arrangement of the various theatrical elements, in fostering collaborative working processes between the artists involved, and in the creation of audience-artist relationships. In offering a reading of Goebbels’s “no-man show” Stifters Dinge, this paper seeks to situate Goebbels’s practice within a theoretical tradition that also encompasses Hannah Arendt’s deployment of the theatre as a metaphor for the public sphere. Within this analysis, I suggest, theatre can be seen to offer the possibility of a participatory democracy through its attention to disappearance and absence.

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