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The moron as an enemy force
Gerald V. O’Brien

4 THE WAR AND NATURAL CATASTROPHE METAPHORS: THE MORON AS AN ENEMY FORCE Congenitally incapable of adjusting themselves to an advanced social order, the degenerate inevitably become its enemies – particularly those ‘high-­grade defectives’ who are the natural fomenters of social unrest.1 ‘Undesirable’ community groups, especially those which can be framed as potentially destructive to society at large, are often described through the employment of military or natural catastrophe metaphors. In such cases, the group is put forth as a primary and imminent threat

in Framing the moron
Paul Sutton

it as pretentious while Assayas’ arthouse following may find it just plain tacky. ( 2002 : 32) 1 In his later reassessment, however, he suggested that the film wasn’t simply a catastrophe but rather ‘a film made in the catastrophic mode’, arguing provocatively ‘that a cinema truly attuned to our times can make sense only if it partakes of catastrophe, of a collapse of

in Five directors
Adrian Curtin

4 Theatres of catastrophe after Auschwitz and Hiroshima The two place names featured in this chapter’s title call to mind atrocities of the Second World War, specifically the Holocaust and the dropping of the atomic bomb in Japan – catastrophic events that are distinguished even within the twentieth century’s catalogue of horrors involving mass death.1 The genocide of up to six million European and Soviet Jews, along with the murder of other groups (e.g., Sinti and Roma, people with disabilities, gay people, and political prisoners), by the Nazis between 1939

in Death in modern theatre
Don Leggett

4 The Captain catastrophe and the politics of authority The government of England has been making a large experiment, in which the whole English people take a profound interest, personal as well as national. That experiment has just concluded with a result absolute, decided, and overwhelming. The object of the experiment is therefore obtained: it has settled all the questions it was to decide – one way. The experiment has cost at the least £350,000, and some 500 human lives. That is no doubt an experiment on a sufficiently grand scale to warrant the deep

in Shaping the Royal Navy
Norman Geras

very conspicuously amongst the concerns of moral or political philosophers in general. It was a human catastrophe which may be thought, for all that, to pose some troubling questions for anyone committed to radical and progressive change, and it is certainly not a good reason for ignoring these questions that troubling is what they are. The words of the Polish sociologist Anna Pawelczynska, herself a former prisoner at Auschwitz, are to the point here: People living within the orbit of European civilization today defend themselves from the

in The contract of mutual indifference
Cognitive justice, engagement and an ethic of care in learning
Steve Garlick and Julie Matthews

1 University responsibility in a world of environmental catastrophe: cognitive justice, engagement and an ethic of care in learning Steve Garlick and Julie Matthews Introduction E ducation, the area to which we usually first turn for human transformation, has failed us when it comes to environmental matters (Orr, 1992). Much of the environmental mismanagement we see around us today comes from the decisions and actions of ‘educated’ people and, despite talk of the need for an ‘education revolution’, governments are unwilling to address the real question of ‘what

in University engagement and environmental sustainability
Zombie pharmacology In the Flesh
Linnie Blake

Dominic Mitchell's BAFTA award-winning three-part series In the Flesh was first broadcast on BBC3 in March 2013, with a second six-part series following in May 2014. This chapter argues that the series participates in the contemporary mass-cultural deployment of the zombie as a means of exposing and exploring the impact of neoliberal economics on the social and cultural organisation of the world and, in turn, the models of subjectivity available to its inhabitants. In its deployment of mad science, its depiction of the dungeons of Big Pharma's contemporary torture-house and the bleak wildness of the rain-lashed northern moors, in its broken urban estates and hellfire-preaching villages, In the Flesh undertakes a highly gothic queering of neoliberal England. Thus it interrogates both the contemporary state of the nation and the rights, responsibilities and subjectivity of us all.

in Neoliberal Gothic
Abstract only
Auteurism from Assayas to Ozon
Editor: Kate Ince

There have been vigorous debates about the condition and prospects of auteur cinema in France over the last decade, debates that seem mostly to have gone unreported in anglophone criticism of francophone cinema. But these have been paralleled by a revival of international debate about the status of the auteur: in their extended chapter on auteur cinema added to the second edition of Cook's The Cinema Book, Pam Cook and Mieke Bernink observe that this was definitely underway by 1995. This book summarises the development of auteurism as a field up to the 1990s, drawing particularly on Wright Wexman's historical overview. Georges Méliès was the first auteur. Following the advent of structuralism and structuralist approaches to narrative and communication in the mid 1960s, a type of auteurism was born that preserved a focus on authorship. The book presents an account of the development of Olivier Assayas' career, and explores this idea of what one might call 'catastrophe cinema'. Jacques Audiard's work reflects several dominant preoccupations of contemporary French cinema, such as an engagement with realism (the phenomenon of the 'new new wave') and the interrogation of the construction of (cultural) memory. The book then discusses the films of the Dardenne brothers and their documentaries. Michael Haneke's films can be read as a series of polemical correctives to the morally questionable viewing practices. An introduction to Ozon's films that revolve around the centrality of queer desire to his cinema, and the continual performative transformations of identity worked within it, is presented.

A Military Tactic or Collateral Damage?
Abdulkarim Ekzayez and Ammar Sabouni

out of their homes, especially in densely built-up areas. This military strategy has been extremely effective in regaining most opposition strongholds at the expense of civilian suffering and humanitarian catastrophe. Moreover, this strategy, especially the forced displacement part, could have serious long-term consequences, such as forced displacement and demographic engineering, that could be almost impossible to reverse in post-conflict Syria. Declarations All data used in this paper are publicly accessible. The authors declare that they have no

Journal of Humanitarian Affairs
Chinua Achebe and James Baldwin
Bill Schwarz

The escalation of systematic, if random, violence in the contemporary world frames the concerns of the article, which seeks to read Baldwin for the present. It works by a measure of indirection, arriving at Baldwin after a detour which introduces Chinua Achebe. The Baldwin–Achebe relationship is familiar fare. However, here I explore not the shared congruence between their first novels, but rather focus on their later works, in which the reflexes of terror lie close to the surface. I use Achebe’s final novel, Anthills of the Savanah, as a way into Baldwin’s “difficult” last book, The Evidence of Things Not Seen, suggesting that both these works can speak directly to our own historical present. Both Baldwin and Achebe, I argue, chose to assume the role of witness to the evolving manifestations of catastrophe, which they came to believe enveloped the final years of their lives. In order to seek redemption they each determined to craft a prose—the product of a very particular historical conjuncture—which could bring out into the open the prevailing undercurrents of violence and terror.

James Baldwin Review