Billy Wilder's classic film ‘Some Like It Hot’ prefigures Judith Butler's concept of performativity in relation to sex, gender and sexuality. Butler introduced this in Gender Trouble, demonstrating that sex, gender and sexuality are naturalized effects of citation and repetition. In that text she explains that denaturalization is visibly demonstrated by drag. Later in Bodies that Matter she argues that drag in ‘Some Like It Hot’ does not denaturalize heterosexuality, but rather fortifies it. What then for Butler divides denaturalizing drag (...) from non-denaturalizing drag? Butler locates denaturalizing drag in the film ‘Female Trouble’, where Divine's drag-queen persona satirizes gender in a hyperbolic performance. However, Butler misconstrues the cross-dressing performances in ‘Some Like It Hot’ as drag, which are better understood as instances of theatrical disguise. Narrative analysis reveals that all the characters in ‘Some Like It Hot’ function within a dystopian critique of heteronormativity. Because the film takes a performative view of sex, gender and sexuality, it can validate three queer couples who defy the strictures of heterosexual romance. Butler thus overlooks a discourse of critique and destabilization alternative to gay perspectives. Current developments in sexual politics, broadly conceived, track both Butlerian concepts of performativity and dystopian critiques of heteronormativity. (shrink)

This article addresses the issue of realism in relationship to contemporary serial fiction. Drawing on The Bureau, it argues that spy TV series are “realistic” not because they correspond to reality but because of their impact on reality. It begins by giving an overview of the many ways in which “realism,” in the ordinary sense of a resemblance with reality, served as the working framework for The Bureau’s team. It then identifies three distinct types of realisms in the series. The (...) first is a “fictional realism,” namely the ability of The Bureau to conform to the aesthetic and narrative conventions of realistic fictions. The second type of realism, which I qualify as “ordinary,” refers to the possibilities offered by the show’s aesthetics and the enmeshment of The Bureau with viewers’ ordinary experience. The third type of “performative realism” refers to the series’ impact on shared representations and reality. By providing a common language about the secret activities of the state, The Bureau has gone from being a framed version of reality to being one of the defining frameworks through which state secrecy is experienced both individually and collectively, by insiders and the public at large. (shrink)

The main aim of my thesis is to ascertain whether empathy has the required qualities of an emotion. Disagreement is rife regarding the process leading to the arousal of an emotion, which creates uncertainty as to what exactly an emotion is, and how it appears. This is the first issue I tackle in my work, as I concentrate on examining some of the significant cognitive and feeling theories of emotions. My study of these theories outlines their downsides, and I instead (...) propose to retain a hybrid definition that combines the advantages of both families of theories to provide a balanced approach that recognises the importance of both physical changes and cognitions. The focus of my work then moves specifically onto empathy, with the intention of precisely defining this term too, its functioning, as well as the meaning of the expression ‘feeling empathy for someone’. The existing literature on empathy fails to provide a clear understanding of empathy’s classification as an emotion or a skill. My work is original in that I avoid assertions and clearly establish that empathy constitutes an emotion based on the definition of emotion I advance in the first part of my work. (shrink)