Distant Suffering

Distant Suffering, first published in 1999, examines the moral and political implications for a spectator of the distant suffering of others as presented through the media. What are the morally acceptable responses to the sight of suffering on television, for example, when the viewer cannot act directly to affect the circumstances in which the suffering takes place? Luc Boltanski argues that spectators can actively involve themselves and others by speaking about what they have seen and how they were affected by it. Developing ideas in Adam Smith's moral theory, he examines three rhetorical 'topics' available for the expression of the spectator's response to suffering: the topics of denunciation and of sentiment and the aesthetic topic. The book concludes with a discussion of a 'crisis of pity' in relation to modern forms of humanitarianism. A possible way out of this crisis is suggested which involves an emphasis and focus on present suffering.

Examining the moral implications for a spectator of the distant suffering of others as presented through the media, this book asks what the morally acceptable responses are to suffering seen on TV, and what, if anything, the viewer can do.

Drawing on media and social theory, political philosophy and discourse analysis, this title offers an original theoretical perspective on the role of media in global civil society, and looks at how we might begin to analyse the ways in which distant suffering is portrayed, reproduced and consumed.

From the Holocaust to 9/11, modern communications systems have incessantly exposed us to reports of distant and horrifying events, experienced by strangers, and brought to us through media technologies. In this book leading scholars explore key questions concerning the truth status and broader implications of 'media witnessing'.

An End to Suffering is a deeply original and provocative book about the Buddha's life and his influence throughout history, told in the form of the author's search to understand the Buddha's relevance in a world where class oppression and religious violence are rife, and where poverty and terrorism cast a long, constant shadow. Mishra describes his restless journeys into India, Pakistan, and Afghanistan, among Islamists and the emerging Hindu middle class, looking for this most enigmatic of religious figures, exploring the myths and places of the Buddha's life, and discussing Western explorers' "discovery" of Buddhism in the nineteenth century. He also considers the impact of Buddhist ideas on such modern politicians as Gandhi and Nelson Mandela. As he reflects on his travels and on his own past, Mishra shows how the Buddha wrestled with problems of personal identity, alienation, and suffering in his own, no less bewildering, times. In the process Mishra discovers the living meaning of the Buddha's teaching, in the world and for himself. The result is the most three-dimensional, convincing book on the Buddha that we have.

Blocking out, turning a blind eye, shutting off, not wanting to know, wearing blinkers, seeing what we want to see ... these are all expressions of 'denial'. Alcoholics who refuse to recognize their condition, people who brush aside suspicions of their partner's infidelity, the wife who doesn't notice that her husband is abusing their daughter - are supposedly 'in denial'. Governments deny their responsibility for atrocities, and plan them to achieve 'maximum deniability'. Truth Commissions try to overcome the suppression and denial of past horrors. Bystander nations deny their responsibility to intervene. Do these phenomena have anything in common? When we deny, are we aware of what we are doing or is this an unconscious defence mechanism to protect us from unwelcome truths? Can there be cultures of denial? How do organizations like Amnesty and Oxfam try to overcome the public's apparent indifference to distant suffering and cruelty? Is denial always so bad - or do we need positive illusions to retain our sanity? States of Denial is the first comprehensive study of both the personal and political ways in which uncomfortable realities are avoided and evaded. It ranges from clinical studies of depression, to media images of suffering, to explanations of the 'passive bystander' and 'compassion fatigue'. The book shows how organized atrocities - the Holocaust and other genocides, torture, and political massacres - are denied by perpetrators and by bystanders, those who stand by and do nothing.

A “marvelous history”* of medieval Europe, from the bubonic plague and the Papal Schism to the Hundred Years’ War, by the Pulitzer Prize–winning author of The Guns of August *Lawrence Wright, author of The End of October, in The Wall Street Journal The fourteenth century reflects two contradictory images: on the one hand, a glittering age of crusades, cathedrals, and chivalry; on the other, a world plunged into chaos and spiritual agony. In this revelatory work, Barbara W. Tuchman examines not only the great rhythms of history but the grain and texture of domestic life: what childhood was like; what marriage meant; how money, taxes, and war dominated the lives of serf, noble, and clergy alike. Granting her subjects their loyalties, treacheries, and guilty passions, Tuchman re-creates the lives of proud cardinals, university scholars, grocers and clerks, saints and mystics, lawyers and mercenaries, and, dominating all, the knight—in all his valor and “furious follies,” a “terrible worm in an iron cocoon.” Praise for A Distant Mirror “Beautifully written, careful and thorough in its scholarship . . . What Ms. Tuchman does superbly is to tell how it was. . . . No one has ever done this better.”—The New York Review of Books “A beautiful, extraordinary book . . . Tuchman at the top of her powers . . . She has done nothing finer.”—The Wall Street Journal “Wise, witty, and wonderful . . . a great book, in a great historical tradition.”—Commentary

Auteurism – the idea that a director of a film is its source of meaning and should retain creative control over the finished product – has been one of film studies’ most important paradigms ever since the French New Wave of the late 1950s and early 1960s, and the adoption of the term auteur by Andrew Sarris. Through the popular, controversial and critically acclaimed films of Olivier Assayas, Jacques Audiard, the Dardenne borthers, Michael Haneke and Francois Ozon, this book looks into how the meaning of ‘auteur’ has changed over this half-century, and assesses the current state of Francophone auteur cinema. It combines French philosophical and sociological approaches with methodologies from the Anglo-American fields of gender studies, queer theory and postmodernism. This volume will be of interest to researchers and students of film studies, European cinema and French and Francophone studies, as well as to film enthusiasts.