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Anu Koivunen, Katariina Kyrölä, and Ingrid Ryberg

 1 1 VULNERABILITY AS A POLITICAL LANGUAGE A nu Koi v une n, K atar iina K yröl ä a nd I ngr id  Ry berg I n present-​ day public discussions, questions of power, agency, and the media are debated more intensely than ever as issues of injury or empowerment. Vulnerability has emerged as a key concept circulating in these discussions and their academic analyses. The #MeToo campaign, as well as its extensions like #TimesUp and versions in various languages across the globe, has been taken up as a key example of these tendencies, showing how the public

in The power of vulnerability
Katariina Kyrölä

warnings, while the scene about sexual abuse was not. Many reviews of the film even discussed the lengthy scene as one of seduction, not abuse. The students broadly agreed that the film was very discomforting to watch overall, but that was precisely how it should be, given its topic of sexual abuse and gendered sexual agency. Today, in the post-​#MeToo world, I would very likely make the choice to give a content warning about the whole film, not only the explicit rape scene, and the possibility for an alternative assignment. However, this example testifies to how the

in The power of vulnerability
Open Access (free)
Beowulf translations by Seamus Heaney and Thomas Meyer
David Hadbawnik

what it is for. This is especially true in the ‘#MeToo’ moment; we should not forget that there is a complex set of relationships at work between translator and source text, translator and reader, and so on. Leo Bersani describes the ‘impersonal intimacy of the psychoanalytic dialogue, the intimate talk without sex’, in which the analyst and analysand ‘have to endure the sexual – its conflicts, frustrations, jealousy, the drama of misaimed desire endemic to the sexual relation’, in order to ‘emerge on the other side of the sexual’. 8

in Dating Beowulf
Republicanism,exclusion, and the name of king in Nathaniel Lee’s Lucius Junius Brutus
Lisanna Calvi

kin. In order to achieve his purposes, he is ready to lie and to feign mercy only to withdraw it the very next moment: Titus.  … O all the extremity Of cruel rigor, to behold me too, To sit unmoved and see me whipped to death? Where are your bowels now? Is this a father? Ah, sir, why should you make my heart suspect That all your late compassion was dissembled? (IV.541–​46) 322 323 ‘The Name of King will light upon a Tarquin’ In spite of Titus’s pathetic plea, Brutus –​‘father of the country’, as the subtitle of the play styles him, but not a father to his sons

in From Republic to Restoration