.... Whether the relationships are straight, gay, or bisexual; maternal, paternal, or filial; motivated, situational, or opportunistic; whether the worlds they inhabit are those of art photography, popular music, or medicine; whether their compulsions are addictive, obsessive, or narcissistic; the common story...

..., the paper addresses the questions of whether the trauma of the perpetrator indeed exists; how we might understand the somatic and epistemological conditions of guilt; how we should define the perpetrator's trauma in contrast to the victim's; and whether this cinematic trend indeed paves the way for Israelis...

...Liam Mitchell Female figures routinely appear in popular fiction as ostensibly critical correctives to masculinity who can inadvertently retrench problematic divisions between “Woman” and “Man.” In video games, these figures are often aural rather than visual; whether they are off-screen narrators...

... investigates how Turkish sex films identify and discuss the social oppositions upon which desire is manufactured. It also engages these films’ repercussions, whether in terms of cinematic and social influence or how they affected moral codes regarding female sexuality. Moving from Alan Soble’s Marxist analysis...

... relating its message almost exclusively through its protagonist's point of view, the film highlights her individuality, eliding the broader Moroccan feminist and cultural movements in which Benlyazid's film claims to intervene. For transnational feminist audiences, Benlyazid's film thus stages, whether...

... of Africa in two celebrated twenty-first century films, The Constant Gardener and Blood Diamond , and questions whether problematic archetypes still hold in the new millennium. By reading both films as noir thrillers with humanitarian agendas, the article highlights their subversive potential to “enlighten...

...Karen Orr Vered; John McConchie Inspired by a review of the political theories of Anthony Giddens, particularly his question of whether or not there can be a Third Way politics of family, this essay examines the TV show Supernanny as an example of what we call “Third Way TV.” Tracing the program's...

..., Catherine Malabou, Susan Buck-Morss, and others, I consider the many scenes of self-reference and disavowal in contemporary theory, with an eye on how and whether this autoimmune disorder can be superseded and on the elemental question that is again struck: What should criticism be? Figure 1. Mr. and Mrs...

... as a playground for the player but also as a proving ground where social mores are repeatedly tested. Practices such as lynching, segregation, and phrenology are woven into the narrative and the player must sometimes literally decide whether to endorse or oppose the racism modeled in the game. The hack-and-slash...

... Holmlund 1969. Escape at last from high school regimentation, complete with weekly trips to the vice-principal’s office for dress code infractions. “Miss Holmlund! Sit down! Cross your legs!” he’d tell me. Then he’d bend down and look up my mini-skirt to see whether it was “too short...

... philosophies about whether to take an anti-cancer drug, which type, and how long to take it. A man with severe problems of benign prostate disease (for example, incontinence, feelings of urgency to urinate, and a burning sensation) must decide whether to do nothing, have major surgery, try new drugs...

... they did, what it was like to undergo different treatments, and how they feel about their choices today. Producing the Shared Decision-making Programs There are three main issues facing developers of programs like these: 1)the accuracy and completeness of content; 2) whether framing-the way...

..., “[Diderot] surprised nature in a charming state of undress, sometimes he also saw her relieve herself.”13 Whether or not in satire nature shows her rear is not the most interesting thing for the philosopher, rightly or wrongly. What is interesting is first of all that nature shows something...

... in Women’s Pictures (1982): “questions of context can easily become evacuated in favor of the formalism that is readily privileged in semiotic and psychoanalytic approaches to cinema. Whether such approaches are inherently im- pervious to contextual analysis, or whether...

... to be about the relationship of violence to language. Indeed, much linguistic time is spent deciding whether or not Vince is a dick or whether he only “acts in a phallic fashion,” and in the same breath, whether he is ontologically prone to being violent or merely presents a rather persuasive...

... recording of her own fantasmatic relation to motherhood - the act of documenting or making a documentary provides the basis for a multifaceted inquiry into the role of factual knowledge in understanding the “other, ’ ’ the complexity of the inscription of desire in the look (whether it takes...

... agree with you that the question of choice of artistic means can only be that of how we play- wrights give a social stimulus to our audience (get them moving). To this end we should try out every conceivable artistic method which assiststhat end, whether it is old or new...

... Indiana University Gertrud Koch The question of whether the filmic text inscribes the spectator’s position with the obviously privileged needs of the male gaze or whether the film text and its conditions of reception should not be more clearly distinguished was the point of departure...

... power to trouble the theorist’s dis- tance from the paranoia he analyzes: “It remains for the future to decide whether there is more delusion in my theory than I should like to admit, or whether there is more truth in Schreber’s delu- sion than other people are as yet prepared to believe.”21...

... the tale of two women friends in 1950s France, Lena (Isabelle Huppert) and Madeleine (Miou-Miou). The two friends ultimately leave their husbands to raise their children on their own. Whether as friends or as lovers is unclear, however, because the story is told by one...