Haneke’s film Funny Games is a reflection on the nature of pain and representation. I argue that the film closely follows Elaine Scarry’s arguments about the structure of torture. Further, by refusing to appeal to categories of generalization such as ‘sadism’ and ‘psychopathy’, Haneke undermines the process of finding meaning in violence. Haneke positions his audiences as more than just witnesses to torture, but active participants in cruelty.

Part philosophical meditation, part cultural critique, The Body in Pain is a profoundly original study that has already stirred excitement in a wide range of intellectual circles. The book is an analysis of physical suffering and its relation to the numerous vocabularies and cultural forces--literary, political, philosophical, medical, religious--that confront it.Elaine Scarry bases her study on a wide range of sources: literature and art, medical case histories, documents on torture compiled by Amnesty International, legal transcripts of personal injury trials, and (...) military and strategic writings by such figures as Clausewitz, Churchill, Liddell Hart, and Kissinger, She weaves these into her discussion with an eloquence, humanity, and insight that recall the writings of Hannah Arendt and Jean-Paul Sartre.Scarry begins with the fact of pain's inexpressibility. Not only is physical pain enormously difficult to describe in words--confronted with it, Virginia Woolf once noted, "language runs dry"--it also actively destroys language, reducing sufferers in the most extreme instances to an inarticulate state of cries and moans. Scarry analyzes the political ramifications of deliberately inflicted pain, specifically in the cases of torture and warfare, and shows how to be fictive. From these actions of "unmaking" Scarry turns finally to the actions of "making"--the examples of artistic and cultural creation that work against pain and the debased uses that are made of it. Challenging and inventive, The Body in Pain is landmark work that promises to spark widespread debate. (shrink)

Although the body has been the focus of much contemporary cultural theory, the models that are typically applied neglect the most salient characteristics of embodied existence—movement, affect, and sensation—in favor of concepts derived from linguistic theory. In _Parables for the Virtual_ Brian Massumi views the body and media such as television, film, and the Internet, as cultural formations that operate on multiple registers of sensation beyond the reach of the reading techniques founded on the standard rhetorical and semiotic models. Renewing (...) and assessing William James’s radical empiricism and Henri Bergson’s philosophy of perception through the filter of the post-war French philosophy of Deleuze, Guattari, and Foucault, Massumi links a cultural logic of variation to questions of movement, affect, and sensation. If such concepts are as fundamental as signs and significations, he argues, then a new set of theoretical issues appear, and with them potential new paths for the wedding of scientific and cultural theory. Replacing the traditional opposition of literal and figural with new distinctions between stasis and motion and between actual and virtual, _Parables for the Virtual _tackles related theoretical issues by applying them to cultural mediums as diverse as architecture, body art, the digital art of Stelarc, and Ronald Reagan’s acting career. The result is an intriguing combination of cultural theory, science, and philosophy that asserts itself in a crystalline and multi-faceted argument. _Parables for the Virtual_ will interest students and scholars of continental and Anglo-American philosophy, cultural studies, cognitive science, electronic art, digital culture, and chaos theory, as well as those concerned with the “science wars” and the relation between the humanities and the sciences in general. (shrink)

Work in body studies and theories of affect challenge the mind/body dualism where human action/behavior is shown to be an embodied, lived event. More specifically, bodily practices not only inform/shape human subjectivity but convey what language—words—often cannot. BDSM is one such practice that illuminates embodied subjectivities, where the flesh proves pivotal to one’s orientation to/with the world. In this article I explore women BDSMers who, as survivors of sexual violence, engage in BDSM rape play. BDSM rape play foregrounds the flesh, (...) exemplifying quite powerfully “bodily capacity,” one where bodily disintegration that occurred with the sexual assault is disrupted through bodily recuperation. This felt experience—the body as the source of insight—carries considerable weight, and should inform our thinking when it comes to feminist explorations of sexuality and those contentious and controversial practices such as BDSM. (shrink)

This article engages critically with issues surrounding the theorization of the self and body relation, where the body is interpreted as material increasingly open to human intervention and choice. It is argued that this theorization rests upon a mind/body split that limits an understanding of embodied identity. The significance for feminism of undermining representational practices that rely upon this dualism are outlined and criticized for reproducing the logic of representation they set out to destabilize. An alternative strategy is examined and (...) the argument is made that to understand embodied identity the question must not be what do bodies mean but what can they do. Here feminist approaches that rely upon a radically different ontological position in order to move beyond the mind/body split are utilized. These theoretical debates are made meaningful through the lens of self narratives produced by young women–a context which demands the development of strategies for theorizing lived bodies. (shrink)

Elaine Scarry argues in The Body in Pain that war is a vast and reciprocal swearing on the body, with corporeality key not only to its brutal prosecution but also to the eventual ending of the political ‘crisis of substantiation’ that war entails. However, her work has not been extensively explored with reference to significant transformations in the embodied experiences of contemporary warfare. This article thus analyses a particular articulation of late modern warfare that I term predatory war, whose current (...) signature motif is the drone strike, through the lens of Scarry’s work. Here, the associated modes of embodiment are radically non-reciprocal, the woundscapes of conflict are profoundly asymmetric, and the affective mediation of bodily injury does not substantiate any ending to the conflict. As such, I argue that the ontology and phenomenology of predatory war increasingly resembles what Scarry identifies as the underlying structure of torture. (shrink)

Just as the nation is imagined and produced through everyday rhetoric and maps and flags, it is also constructed on the skin, and through bodies, by different types of corporeal `flagging'. In this article, I use two examples of contemporary surgical procedures to explore these dynamics. Aesthetic surgeries on `white' subjects are not often interrogated for their racializing effects, but I use the concept of `flagging' to explore how these surgeries work in the UK to align `white' bodies with a (...) white nation. US media coverage of Iraq invasion veterans with prosthetic limbs circulates narratives of heroism and patriotism, and I explore how the apparent `visibility' of these limbs works to re-embed notions of the US as a transcendent Christian nation. In these two examples of corporeal modification, the nation is `flagged' on the skin, reiterating relationships of belonging that echo practical and conceptual links with property. Propertied belonging — possessive and constitutive — unfolds through bodies, producing whiteness not only as property itself, but also as unmarked, habitual terrain. (shrink)

This book traces the theory of violence from nineteenth-century symmetrical warfare through today's warfare of electronics and unbalanced numbers. Surveying such luminaries as Walter Benjamin, Frantz Fanon, Hannah Arendt, Paul Virilio, and Jacques Derrida, Avelar also offers a discussion of theories of torture and confession, the work of Roman Polanski and Borges, and a meditation on the rise of the novel in Colombia.

In Encountering Affect, Ben Anderson explores why understanding affect matters and offers one account of affective life that hones in the different ways in which affects are ordered. Intervening in debates around non-representational theories, he argues that affective life is always-already ‘mediated’ - the never finished product of apparatuses, encounters and conditions. Through a wide range of examples including dread-debility-dependency in torture, ordinary hopes, and precariousness, Anderson shows the significance of affect for understanding life today.

This new Reader gives students an ideal overview of the historical developments and current controversies within this dynamic area of feminist theory. Wide-ranging articles stress the interdisciplinary nature of contemporary feminist thought and include 'Sexy Bodies' and 'Performing Bodies'.Key Features*Comprehensive coverage of differing feminist approaches to the body*General critical introduction puts the issues in context*Wide range of contributors, including Donna Haraway and Elizabeth Grosz.

This article takes a genealogical approach to the problem of affective communication that we find coalescing around the phenomenon of ‘affective transfer’ identified in experiences such as voice-hearing, telepathy and hypnotic suggestion. These experiences breach the boundaries between the self and other, inside and outside, and material and immaterial, and make visible some of the central issues that are important in re-thinking affect, relationality and embodiment. The article will attempt to re-engage the problematic of subjectivity by asking what a turn (...) to affect entails within such technologies of listening and attention. This is particularly important when such turning or opening to affect engenders a conversation with traumatic memories, albeit a conversation that does not occur primarily in a verbal register. The key focus will be on the marginalized status of telepathic modalities of affective transfer throughout the histories of the development of the psychological sciences. The article uses this as a platform to consider the connections between what is occluded or excluded from the psychological sciences, and what is being silenced within work on affect taking form across the humanities. Taking us back to the practice of telepathy in the 19th century and the problem of hypnotic suggestion in the mid 20th century (the Macy Conferences), the article discloses how both function as carriers of what is being overlooked and silenced in the engagement by many affect scholars with the knowledge-practices of the psychological and neurosciences. (shrink)

Appealing to theorists such as Judith Butler, Walter Benjamin, Michel Foucault, Donna Haraway, and Bibi Bakare-Yusef, the aim of the following is to show that, despite ongoing critique, Cartesian dualism continues to haunt our analyses of the relationship of the subject to embodiment, particularly with respect to the experience of pain. Taking Bakare-Yusef's critique of Elaine Scarry's account of institutionalized violence (slavery) as an example, I will argue, first, that the dualistic impulse which Bakare-Yusef identifies in Scarry's view has deep (...) historical roots in, for instance, Aristotle's hylomorphic concept of the subject. Second, I will consider the specific relevance of poststructuralist analyses of subjectification to our conceptions of violence. Lastly, I will explore some contemporary examples of pain in light of the question: can violence 'deconstruct the body' without desubjectifying the subject? I think that the answer is a qualified 'yes'. (shrink)

Words like "terrorism" and "war" no longer encompass the scope of contemporary violence. With this explosive book, Adriana Cavarero, one of the world's most provocative feminist theorists and political philosophers, effectively renders such terms obsolete. She introduces a new word—"horrorism"—to capture the experience of violence. Unlike terror, horrorism is a form of violation grounded in the offense of disfiguration and massacre. Numerous outbursts of violence fall within Cavarero's category of horrorism, especially when the phenomenology of violence is considered from the (...) perspective of the victim rather than that of the warrior. Cavarero locates horrorism in the philosophical, political, literary, and artistic representations of defenseless and vulnerable victims. She considers both terror and horror on the battlefields of the _Iliad_, in the decapitation of Medusa, and in the murder of Medea's children. In the modern arena, she forges a link between horror, extermination, and massacre, especially the Nazi death camps, and revisits the work of Primo Levi, Hannah Arendt's thesis on totalitarianism, and Arendt's debate with Georges Bataille on the estheticization of violence and cruelty. In applying the horroristic paradigm to the current phenomena of suicide bombers, torturers, and hypertechnological warfare, Cavarero integrates Susan Sontag's views on photography and the eroticization of horror, as well as ideas on violence and the state advanced by Thomas Hobbes and Carl Schmitt. Through her searing analysis, Caverero proves that violence against the helpless claims a specific vocabulary, one that has been known for millennia, and not just to the Western tradition. Where common language fails to form a picture of atrocity, horrorism paints a brilliant portrait of its vivid reality. (shrink)

This edited volume places the body at the centre of critical thinking about war and its consequences. War is fundamentally embodied.

In this article I read Elaine Scarry’s account of torture in her The Body in Pain alongside Adriana Cavarero’s account voice and its relationship to violence in her A più voci: Per una filosofia dell’espressione vocale and Orrorismo: Ovvero della violenza sull’inerme. This serves a dual purpose: first, to demonstrate that Scarry’s account of torture is implicitly committed to an Aristotelian distinction between phone and logos which mirrors Cavarero’s account of ‘The Devocalization of Logos’ ; and second, to probe the (...) limits of Cavarero’s notion of ‘horrorism’ by reading it against Scarry’s account of torture and some of Cavarero’s own examples from For More than One Voice. Unlike Cavarero, for whom torture is a form of horrorism because it effaces the uniqueness of the prisoner, I argue that Scarry’s account of torture demonstrates the gross reverence that the torturer pays to the prisoner’s uniqueness. In this way I argue that torture places the prisoner’s uniqueness into a suspended state of dissolution. (shrink)