The feminist sex wars have been characterized by debates between radical feminists and sex radical feminists about women's experiences of empowerment versus oppression in the sex industry. Based on a qualitative study of the experiences of exotic dancers, this article introduces a new theoretical paradigm to the feminist sex wars that values the contributions of both sex radicals and radical feminists. It articulates a twofold temporal dimension of sex workers' experiences: how women's feelings of pleasure and empowerment gradually decline over (...) time and how good and bad experiences rapidly transform into their opposites over the course of a single evening, making the strip bar a volatile and unsettling space for performers. (shrink)

Grundsätzlich geht es dem Menschen darum, im Lichte seiner Endlichkeit ein gelingendes Dasein zu führen. Doch wie kann und soll dieses Dasein geregelt werden? Nichts erscheint vernünftiger als eine politische Ordnung im Lichte der Sakralität der Person - an die jedoch geglaubt werden muss. Nach einer kulturgeschichtlichen Aufarbeitung wird deutlich: Die "heilige Ordnung der Menschenwürde" erweist sich dem moralischen Dogmatismus absoluter Ordnungsprinzipien überlegen und vermag darüber hinaus das Prinzip politischer Selbstbestimmung zu garantieren, indem die Selbstgefährdung völlig ergebnisoffener Ordnungsformen überwunden wird. (...) Auf anthropologischer und psychologischer Basis wird die Sakralität der Person erklärt, begründet und vor dem Hintergrund des Konflikts zwischen Politik und Religion problematisiert. Die auf dem Prinzip der Sakralität der Person aufbauende "heilige Ordnung der Menschenwürde" wird darüber hinaus als vielversprechende Zukunft unserer Zivilisation diskutiert. (shrink)

Contemporary TV shows, characterized by their complex narrative form, are designed to reveal the simple. They enable characters and viewers alike to discover the ordinary by coupling the everyday to an underworld populated by criminals, demons, vampires, and other kinds of “lowlifes.” I will argue here that the structure of the Möbius strip, or Escher twist, draws a particular aesthetic appeal at the intersection of these worlds. I call these twists uncanny in the Cavellian sense that the underworld, looking (...) strangely familiar, has the capacity of making the ordinary look unfamiliar, inherently strange, and unstable. Rather than allowing us to judge the demonic or illegal, they disclose what is normally inaccessible to us precisely because it is so ordinary and simple, so familiar and in plain sight. I will support this idea of Escher-twisting from one world to another by analyzing examples from Twin Peaks (ABC 1990-2, Showtime 2017), The Sopranos (HBO 1999-2007), Awake (NBC 2012), and Ozark (Netflix 2017–2022). (shrink)

Adriel M. Trott challenges the wholesale acceptance of the view that nature operates in Aristotle's work on a craft model, which implies that matter has no power of its own. Instead, she argues for a robust sense of matter in Aristotle in response to feminist critiques. She finds resources for thinking the female's contribution (and the female itself) on its own terms and not as the contrary to form, or the male. Using the image of a Möbius strip, Trott (...) considers how semen and menses flow through Aristotle's account of generation. She weaves together scholarship on matter, form and generation in Aristotle; on the mythological, Hippocratic and Pre-Socratic treatments of the feminine and the elemental; and on feminist readings of material. In doing so, she demonstrates the interdependence of form and matter in Aristotle's biology. (shrink)

Oleg B. Zaslavskii. The little in a non-Euclidean world: On the artistic space in Tom Stoppard's film and play “Rosencrantz and Guildenstern are dead”. It is shown that quite different aspects of Tom Stoppard’s work — spatial organization, relationship between reality and the conditional character of events, causality and narrative links, the problems of choice and personality — are united by the spatial one-sided model like the Möbius strip or Klein bottle. The artistic space turns out to be not (...) orientable, the time being cyclic. This enables us to explain the mutual exchange of names between Rosencrantz and Guildenstern and a number of other paradoxical features in the plot and composition. The model like the Möbius strip embodies the absence of a free choice: there is no other side in the world and there is no chance to escape from the fate indicated in the title of Tom Stoppard’s work. The relevance of topology, e.g. the property of a globalnature, is connected with the fact that a bearer of danger is the world as a whole. Apart from this, it points to the fact that such a structure of the world is essentially “non-Euclidean” and cannot be understood on the basis of observations from every-day life or “obvious” experiments like those carried out by Rosencrantz. (shrink)

In the most rigorous articulation of his philosophical system to date, Slavoj Žižek provides nothing short of a new definition of dialectical materialism. In forging this new materialism, Žižek critiques and challenges not only the work of Alain Badiou, Robert Brandom, Joan Copjec, Quentin Meillassoux, and Julia Kristeva (to name but a few), but everything from popular science and quantum mechanics to sexual difference and analytic philosophy. Alongside striking images of the Möbius strip, the cross-cap, and the Klein bottle, (...) Žižek brings alive the Hegelian triad of being-essence-notion. Radical new readings of Hegel, and Kant, sit side by side with characteristically lively commentaries on film, politics, and culture. Here is Žižek at his interrogative best. (shrink)

Oleg B. Zaslavskii. The little in a non-Euclidean world: On the artistic space in Tom Stoppard's film and play “Rosencrantz and Guildenstern are dead”. It is shown that quite different aspects of Tom Stoppard’s work — spatial organization, relationship between reality and the conditional character of events, causality and narrative links, the problems of choice and personality — are united by the spatial one-sided model like the Möbius strip or Klein bottle. The artistic space turns out to be not (...) orientable, the time being cyclic. This enables us to explain the mutual exchange of names between Rosencrantz and Guildenstern and a number of other paradoxical features in the plot and composition. The model like the Möbius strip embodies the absence of a free choice: there is no other side in the world and there is no chance to escape from the fate indicated in the title of Tom Stoppard’s work. The relevance of topology, e.g. the property of a globalnature, is connected with the fact that a bearer of danger is the world as a whole. Apart from this, it points to the fact that such a structure of the world is essentially “non-Euclidean” and cannot be understood on the basis of observations from every-day life or “obvious” experiments like those carried out by Rosencrantz. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 41, no. 3. © 2015 by Feminist Studies, Inc. 623 Jaye Cee Whitehead, Kath Bassett, Leia Franchini, and Michael Iacolucci “The Proof Is in the Pudding”: How Mental Health Practitioners View the Power of “Sex Hormones” in the Process of Transition In the United States today, popular discourse touts the power of “sex hormones” and hormone receptors in the brain to chemically produce gender expressions (manifested in (...) physical sex traits, behaviors, and attitudes) and identities (a sense of self as feminine or masculine). These accounts range from common assumptions that Western ideals of femininity (such as empathy understanding, cooperative orientation, nurturing behavior) and masculinity (rational/spatial understanding, competitive orientation, violent behavior) are produced by corresponding sex hormones, to studies that reduce complex gender identities and macrosocial economic phenomena to presocial, binary, hormonal processes.1 For sociologists, accounts that reduce complex identities to internal hormonal reactions are problematic for two primary reasons: first, they are inaccurate because they fail to examine how hormonal reactions are embedded in a complex cultural process of meaning and interpretation; second, they operate as bioreductive ideologies that obscure the social power inherent to the process of gender identity construction. In what follows, we extend both of these insights by examining mental health 1. For an example of a hybrid popular-scientific account of the power of sex hormones to destabilize economic structures, see Jon Coates and Joe Herbert, “Endogenous Steroids and Financial Risk Taking on a London Trading Floor,” Proceedings of the National Academy of Sciences 105, no. 16 (April 2008): 6167–72. 624 Whitehead, Bassett, Franchini, and Iacolucci practitioners’ divergent interpretations of the power of sex hormones in the process of gender transition.2 In doing so, we examine the cultural power of sex hormones in crafting gender identities without reproducing reductionist interpretations of trans embodiment. Perhaps what is most perplexing about the way we speak of sex hormones is that we know it is inaccurate to describe these hormones as sexed; scientists have acknowledged since the 1930s that they are neither sex specific in their function, nor in terms of their location in male or female bodies.3 In her extensive historicization of sex hormones, Anne Fausto-Sterling concludes that it is more accurate to call androgen- and estrogen-based hormones, “steroid hormones” as they have functions that are not confined to corresponding sexed bodies. In fact she urges scientists to “break out of the sex hormone straightjacket” and to look at steroids as just one of a number of components that are important to the creation of sex and gender, including environment and experience.4 Scholars also point to an inextricable link between the chemical operation of hormones and the social process of constructing meaning, both at the level of social interaction and macrocultural constructions of sex categories and gender ideologies.5 While brain organization/activation theory attributes sex and gender differences to hormonal interactions within the developing brain, Fausto-Sterling questions the distinction between activation and organization by pointing out how “the brain can respond to hormonal stimuli with anatomical changes…hormonal systems, after all, respond exquisitely to experience, be it in the form of nutrition, stress, or sexual activity (to name but a few possibilities ).”6 Drawing from Elizabeth Grosz, Fausto-Sterling argues that the power of hormones is best understood according to the model of the 2. “Gender transition” is a controversial phrase, as it implies that transgendered individuals who receive hormone therapy are changing identities. We are only using it for lack of clear alternative phrasing, not because we believe body modifications change gender identities. 3. See Anne Fausto-Sterling, Sexing the Body: Gender Politics and the Construction of Sexuality (New York: Basic Books, 2000); Rebecca Jordan-Young, Brainstorm: The Flaws in the Science of Sex Differences (Cambridge, MA: Harvard University Press, 2010); and Nelly Oudshoorn, Beyond the Natural Body: An Archeology of Sex Hormones (New York: Routledge, 1994). 4. Fausto-Sterling, Sexing the Body, 193–94. 5. Fausto-Sterling, Sexing the Body. 6. Ibid., 232. Whitehead, Bassett, Franchini, and Iacolucci 625 Möbius strip, wherein internal components of the self are always connected to and continuous with outer components such as culture and environment.7 In other... (shrink)

The review analyzes the book The Conscience’s Double by Georgy Chernavin. I focus on the concepts of false twins of conscience, guilt, and duty in the extended context of philosophical and artistic discourse. The problem of the difference between conscience and its ersatz forms, which give rise to a distorted ethical consciousness, is considered. The main emphasis is opportunistic conscience, neurotic guilt, and false debt. The review suggests that Chernavin’s book studies the “sad theory” of moral disorientation and requires the (...) supplementation with a hypothetical “cringe theory.” In this case, the “sad theory” makes it possible to expand the phenomenological discourse by including a discussion of conscience, illustrating the uncertainty of the boundaries between the phenomenological and the symbolic, and highlighting the subject’s dependence on what they are not. In this work, there is a potential for developing an original ontology of the relationship between conscience and its evil counterpart, especially between a “spiritually sighted” and a “blindly corporeal” person. The scrutinized guilt for the lost absence of guilt is an experience that, although not lived, is important for the subject’s self-constitution. This experience, like the inner side of the subject, determines its conscious functioning and forms something like a Mobius strip. An Evil Genius makes this bond, and I am trying to conceptualize their “weakened” being. (shrink)

The Möbius transformation (MT) was analyzed as a coordinate transformation in the Minkowski form. The transformation function contains three separate light cones. The Weyl spheres were interpreted as basic constituents of local light cones. These cones are related to the denominators of the MT and its inverse, and their apexes define an axis with the top of the global light cone as the centerpoint. That axis represents the local part of the world-line of a moving frame of reference. On the (...) world-line, the scale factor of the MT is proportional to the ratio of the radii of the initial Weyl sphere and the equivalent transformed one. The projection centers, defining the transformation of the world-line, were determined graphically. There are two types of such MT's. Inner transformations have their projetion centers on the axes of the frame at rest, outer transformations on the axes of the “observed” moving frame. The signature of x 0 2 −r2 is conserved during inner transformations. All possible directions of the world-line of an inertial frame form a timelike “mass cone” around the time axis of the frame at rest. The mass cone and the related spacelike “phase cone” may be seen as projections of a lightlike central motion on the surface of a Weyl sphere. Conformal transformations leave both the mass cone and the phase cone invariant: the MT locally, and the Lorentz transformation globally. The moving frame of any lightlike particle rotates by π/2 radians, thus exchanging the time axis with one of the space axes. The measurable mass of such a particle is considered to be zero because only the central plane of the particle is space-oriented. The real mass is invariant. To test this hypothesis, the two γ-quanta produced by the electron pair annihilation should be led to a recollision, for recreating the initial electron-position pair. (shrink)

If states have the moral authority to decide their memberships by denying citizenship, I argue that they may also strip citizenship, from law-abiding members, for the same reasons. The only real difference is that when states revoke citizenship they may need to compensate people for their prior contributions, but that is not unlike what frequently occurs in divorce. Once just termination rules are established, stripping citizenship could become, like divorce, an everyday event. Partly because of this implication, we should (...) reject the membership authority of states. (shrink)

In December 1905 the zoologist Karl Möbius, director of the Berlin Museum of Natural History, spoke on the leading ideas of his theory of the animals' aesthetical value to the members of the famous Mittwochs-Gesellschaft . He wanted to demonstrate how the mysterious aesthetical effect of living creatures could be explained in an empirical way by biological and psychological facts. Möbius' aesthetic of animals is an important part of the antimetaphysical tradition of the German 19th century aesthetic of nature. Möbius (...) continued the aesthetical work of the naturalists A. von Humboldt (1769–1859) and M.J. Schleiden (1804–1881). His empirically founded aesthetic is similar to that of the English philosopher and statesman E. Burke (1729–1797) and to that of the philosopher, physicist and psychologist G.T. Fechner (1801–1887). (shrink)

Ovid's disclaimers in the Ars Amatoria need to be read in this context. My main argument is that, in his disclaimers, Ovid is rendering his female readership socially unrecognizable, rather than excluding respectable virgins and matronae from his audience. Ars 1.31–4, Ovid's programmatic statement about his work's target audience, is a case in point. A closer look at the passage shows that he does not necessarily warn off Roman wives and marriageable girls:este procul, uittae tenues, insigne pudoris,quaeque tegis medios instita (...) longa pedes:nos Venerem tutam concessaque furta canemusinque meo nullum carmine crimen erit. Ov. Ars Am. 1.31–4Stay away, slender fillets, symbol of modesty,and you, long hem, who cover half the feet:we shall sing of safe sex and permitted cheatingand there will be no wrong in my song. (shrink)

Australia is a suburban nation, with 85 percent of the 20 million people clinging to the coastal fringes of the world's largest island and oldest continent. This article explores Australian suburbia as the `third space' that mediates urbanism to `nature'. It draws on the thought of George Seddon, an important initiator of ecological history, regional geography and sub/urban politics in Australia. Seddon's insights on Australian ecosystems and Australian interpretations, namings, perceptions and shapings of their natural environment since the beginning of (...) European colonization in 1788 are used to think about the `nature of suburbia', `nature in suburbia' and suburbia in Australian `nature'. Its central argument is that nature is always culturally mediated and that the dominant ecological imaginary in Australia is suburban. The suburbs are the sites of economic, ecological and cultural trafficking about nature. It is argued here that the `bush', at least since the Second World War in Australia, has been more determinative of the suburban social imaginary than the `city'. In recent years, the meaning of the `bush' has transmuted from the `country' into the `wilderness', and from a valorization of the historic settlement process to myths of pure, aboriginal nature unadulterated by human imaginings and interventions. Though the meanings of the `bush' have changed in each case, its interpreter and maker is the socialized gardener of suburbia. The future of Australian nature is to be played out in the suburbs. (shrink)

"Der Aufsatz rekonstruiert die historische Genese der politischen Ökologie im 19. Jahrhundert am Beispiel des Zoologen Karl August Möbius. Als entscheidendes Paradigma der Vorgeschichte wird die Bevölkerungsdebatte um 1800 herausgearbeitet. Vor diesem Hintergrund entsteht die politisch-ökologische Perspektive durch die Übertragung klassischer Prinzipien der Ökonomie auf Tiergemeinschaften und von dort wieder zurück auf eine zoologisch verstandene Menschenwelt. The paper reconstructs the historical genesis of political ecology in the 19th century by the example of the zoologist Karl Möbius. The population debate around (...) 1800 is elaborated as a decisive paradigm of its emergence. Against this background, the political-ecological perspective arises through the transfer of classical economic principles on animal com- munities and their retransfer back to a human world that is now understood in zoological terms. ". (shrink)

Der Aufsatz rekonstruiert die historische Genese der politischen Ökologie im 19. Jahrhundert am Beispiel des Zoologen Karl August Möbius. Als entscheidendes Paradigma der Vorgeschichte wird die Bevölkerungsdebatte um 1800 herausgearbeitet. Vor diesem Hintergrund entsteht die politisch-ökologische Perspektive durch die Übertragung klassischer Prinzipien der Ökonomie auf Tiergemeinschaften und von dort wieder zurück auf eine zoologisch verstandene Menschenwelt.

A victim of a crime may claim that the criminal must make restitution of the benefit gained at his expense. The enrichment may arise directly from the criminal act. For example, a criminal demands money with menaces or obtains Property by fraud. No legal system will allow him to retain his enrichment gained at his victim's expense. More difficult problems arise if the criminal's enrichment is an indirect enrichment, for example, if he or members of his family used information relating (...) to his criminal activities and published his story. The victim's common law claim may be defeated by such submissions as: the benefit was not gained at the plaintiff's expense or the criminal did not act wrongfully in using the information so acquired. There is also the forfeiture rule which insures, in England, that neither the legal nor beneficial title to property vests in the criminal; in contrast, in the United States, the criminal will be deemed to hold the property on constructive trust. These issues are discussed in Part I and Part II of the article respectively. Part III of the article discusses briefly the English legislation which seeks to deprive criminals of the profits of their criminal activities. An important statute, the Criminal Justice Act 1988, is not well drafted. The existence of such statutes should not exclude the possibility of a common law restitutionary claim where no confiscation order has been, or can be, made. This point is examined further in Part IV of the article, which discusses the implications of the important decision of the English Court of Appeal in Attorney-General v. Blake in 1998, where the defendants conduct amounted, not only to a breach of contract, but to a serious criminal offense. Part V of the article asks whether there should be further legislative intervention and suggests that the American statutes provide only limited guidance for the English draftsman. The nature and scope of any future English legislation must now take into account the United Kingdom Human Rights Act 1998. Its possible impact is discussed in the final Part, VI, of the article. (shrink)

In 'Descartes' droom' worden strip en filosofie met elkaar verbonden. Een idee van Hubert Dethier, die in zijn colleges aan de VUB het medium strip tot onderwerp van filosofische bezinning maakte. Filosofe en vroegere stripuitgeefster Margreet van Muijlwijk nam de fakkel van hem over en verbond ter gelegenheid van Hubert Dethiers tachtigste verjaardag diens gedachtegoed met de vele aspecten van wat intussen een volwassen kunst (de negende kunst) is geworden. Strip en filosofie passen goed bij elkaar. Terwijl (...) filosofie een eeuwenoude praktijk is, is het stripverhaal het oudste medium onder de nieuwe media. In tegenstelling tot die laatste is de tijdlijn van een stripverhaal op elk moment tot stilstand te brengen of om te keren. Dat is een eerste voorwaarde voor reflectie: bij de dingen kunnen stilstaan en afwegingen maken. De strip kan op die manier onvermoede inzichten bieden in talloze stromingen van de westerse filosofie en in onze maatschappij in het algemeen. (shrink)