Journal articles on the topic 'Components of jealousy'

This study investigated children’s narrative evaluations about jealousy in relation to performance on a higher-order perspective-taking task and assessments of receptive vocabulary and nonverbal intelligence. Eighty children (5;0–11;11) narrated a wordless picture book about a jealous frog, answered probe questions about the plot, and generated a personal narrative about a situation where they had felt like the frog. Each task was coded for evaluative components of jealousy understanding. With age, children were more likely to mention a jealousy-related mental state, relationship interference, and use the term jealous. Although girls used the term jealous more often than boys, the effect of gender on jealousy understanding was significant only in probe-question responses. Regression analyses revealed bi-directional relationships between jealousy understanding and perspective-taking skills in the two narrative tasks, with age and receptive vocabulary independently predicting perspective taking, but not jealousy understanding. That is, effects of vocabulary and age on narrative evaluations of jealousy were fully mediated by development in higher-order perspective-taking skills.

In contrast to viewing jealousy as a unitary construct, this research differentiates jealousy into reactive (emotional components of jealousy) and suspicious jealousy (cognitive and behavioral components of jealousy), for which manifestations and antecedents differ. Besides finding that reactive and suspicious jealousy could be delineated, the results of two studies found evidence for discriminant validity and that greater reactive jealousy was related to greater relationship dependency, greater trust, and lower chronic jealousy. Persons who displayed more suspicious jealousy had greater insecurity, greater anxious attachment, greater avoidant attachment, greater chronic jealousy, and lower self-esteem. This research is consistent with a transactional model of jealousy.

The article examines the phenomenon of jealousy in close (romantic) relationships of adults. The article presents the results of a study on the experience of jealousy of adult men and women in close relationships. Based on qualitative research (interviews) and quantitative data processing, the author analyzes the strength of jealousy in relationships between men and women. The negative connections of the power of jealousy with the components of psychological and subjective well-being are described. The article provides data on the specific characteristics of romantic attachment inherent in adults with a high power of jealousy in relationships: frustration, ambivalence, a tendency to “grow together” with a partner. It is described that the strength of partners' jealousy is negatively related to their satisfaction with the relationship. Sex differences in reactions to jealousy, an increase in the strength of emotional reactions to jealousy with an increase in the duration of the relationship are analyzed.

Jealousy is a complex emotion characterized by the perception of a threat of loss of something that the person values, particularly in reference to a relationship with a loved one, which includes affective, cognitive, and behavioral components. Neural systems and cognitive processes underlying jealousy are relatively unclear, and only a few neuroimaging studies have investigated them. The current article discusses recent empirical findings on delusional jealousy, which is the most severe form of this feeling, in neurodegenerative diseases. After reviewing empirical findings on neurological and psychiatric disorders with delusional jealousy, and after considering its high prevalence in patients with Parkinson's disease under dopamine agonist treatment, we propose a core neural network and core cognitive processes at the basis of (delusional) jealousy, characterizing this symptom as possible endophenotype. In any case, empirical investigation of the neural bases of jealousy is just beginning, and further studies are strongly needed to elucidate the biological roots of this complex emotion.

Construction time optimization is affected greatly by the negotiation between owners and contractors, whose progress is dictated by their desire to maximize system revenues. This paper builds an agent-based model and designs an experimental scenario in which the contractor has competitive and social welfare preferences relevant to the Chinese context; we subdivide competitive preference into greed and jealousy components and subdivide social welfare preference into generosity and sympathy components. We analyze the impacts of these different contractor preferences on the revenue-sharing coefficient, negotiation success rate, and negotiation time when negotiation reaches agreement. The results show that the jealousy component of competitive preference has an important influence on improving the income of the subject, while the greed component does not significantly enhance the revenue-sharing coefficient. The sympathy component of social welfare preference does not have an influence on the revenue-sharing coefficient no matter the strength of the generosity component. Increasing the greed component of competitive preference will lead to the extension of negotiation time and, to a certain extent, to the reduction of the negotiation success rate; the sympathy component of social welfare preference does not have an influence on negotiation time no matter the strength of the generosity preference.

Background:Romantic jealousy is a complex construct composed of several dimensions. Given the multidimensional nature of romantic jealousy, it would be useful to have a measurement scale that would take into account its several components.Objective:The aims of the present study were to provide the Italian adaptation of the Short Form of the Multidimensional Jealousy Scale (SF-MJS - Elphinson, Feeney & Noller, 2011) verifying its factorial structure, reliability, and predictive validity. Finally, gender differences in the tree main dimensions of romantic jealousy- cognitive, emotional and behavioral- were explored.Method:361 participants (168 males and 193 females), aged 20 to 40 (M = 26.50; SD = 4.99) were recruited. A confirmatory factor analyses (CFA) was performed to test the multidimensional structure of the scale. Cronbach’s alpha coefficient was used to verify the reliability. The predictive validity was assessed examining associations between different dimensions of the romantic jealousy and insecure romantic attachment. Multivariate analysis of variance (MANOVA) was implemented in order to verify gender differences.Results:Confirmatory factor analyses verified the three-factor structure, supporting the presence of these distinct latent constructs, assessing cognitive, emotional and behavioral components of romantic jealousy. The internal consistency coefficients were satisfactory for all the three factors of the scale, and ranged from .80 to .85. Consistent evidence supported the predictive validity of the ISF-MJS. Significant gender differences were registered.Conclusion:The ISF-MJS constitutes a reliable instrument for measuring romantic jealousy in the Italian context. Limitations, strengths, and further development of the present study are discussed.

Ethiopian immigrant women in Israel are overrepresented as victims of femicide; they are killed at more than 16 times the rate of the general population. This article suggests integrating current theoretical and empirical models to explain Ethiopian femicide, and stresses that considering psychological or sociocultural explanations as risk factors alone is not enough to understand this phenomenon. We distinguish between risk factors and triggers for femicide against Ethiopian women. While sociocultural and even psychological changes are risk factors for femicide, one, two, or three main triggers may activate such potential risk factors, such as the woman’s willingness (WW) to leave the intimate relationship, sexual jealousy (SJ), and formal complaints against the abusive partner. The first two triggers are jealousy oriented. To analyze this phenomenon in Israel, we examined all court decisions on intimate partner homicide (IPH) from 1990 to 2010. After reading former studies on IPH and identifying important variables that could explain the phenomenon, we first catalogued the data in every decision and verdict according to main independent variables mentioned in the literature. The study population consists of first-generation immigrants, N = 194: native Israelis (47%), new immigrants from the former Soviet Union (FSU; 31%), and Ethiopians (16%). Our analysis of court decisions reveals that triggers containing jealousy components are responsible for 83% of femicide cases committed by Ethiopian men, in comparison with native Israelis (77%) and immigrant Russian men (66%) who murdered their intimate partners. In addition, there is a significant correlation among motive (jealousy), method of killing (stabbing), and “overkilling” (excessive force).

This study employs a cognitive-relational framework to examine the appraisal and coping components of five major negative emotions. Three hundred and fifty undergraduate students were asked to recall a personal experience involving one of five negative emotions (shame, guilt, sadness, jealousy, disgust) and to complete scales tapping the ways they appraise the emotion-arousing situations, the ways they describe their emotional inner state, and the ways they cope with this state. Results indicate that the five assessed emotions were clearly differentiated on the basis of cognitions about the external situation and the individual's inner state as well as on the basis of the reported coping strategies. The pattern of appraisal and coping of each emotion seems to support some of Lazarus' theoretical hypotheses.

We present an analysis of emotional experience in terms of beliefs and desires viewed as its minimal cognitive constituents. We argue that families of emotions can be identified because their members share some of these constituents. To document this claim, we analyze one family of emotions—which includes the feeling of inferiority, admiration, envy, and jealousy—trying to show that the distinctiveness of each emotion is due to the specific compound of beliefs and desires it implies, whereas the kinship among related emotions is due to their sharing of cognitive or motivational components. Finally, we address the gestalt problem, that is, the question of how it is possible that emotions, although consisting of several “atomic” elements, are felt as unitary experiences.

The presented research reveals imagery-metaphoric and phraseological objectivities of the conceptual spheres Soul, Consciousness, Envy, Jealousy and Greed in Polish, Russian, Ukrainian, Czech and Slovak languages and conceptual picture of the world (first of all in proverbs and sayings, idioms, imagery means of secondary nomination both in standard language and its regional or dialectal variants) according to the indication of holistic characteristic and semantic intersection of these concepts. It describes the spheres of their typological coincidence and differences from the point of imagery motivation. It defines the symbolic functions of these ethno cultural concepts (object sphere) with respect to the specificity of manifestation of Envy in archaic texts, believes, in the language of traditional folk culture and archaic expressions with religious sense that reach Christian ideology, ideas of moral purity and dirt, Body and Soul. It has been defined the collocations with the components envy and jealousy in some thesauri and dictionaries in terms of the specificity of interlingual equivalence and expressions of envy and similar negative emotions and their functioning in the Ukrainian and English text corpora. The analysis demonstrated that practically in all compared languages and linguistic cultures Envy is associated with greed and jealousy, psychic disorders with a corresponding complex of feelings, expressed by metaphoric predicates of destruction and remorse that encode the moral and legal aspect of conscience (conscience is a judge, witness and executioner). Metaphor of Envy containing nominations of colours differ in the Slavonic and Germanic languages whereas those denoting spatial, gustatory, odour, acoustic and parametrical meaning are similar. Many imagery contexts of Envy correlate with such conceptual oppositions as richness and poverty, light and darkness; success is associated with the frames “foreign is better than domestic” where Envy encodes the meaning of encroachment upon another's property, “envy is better than sympathy”, “envy dominates where there are richness, success, welfare, happiness” which confirms the ideas of representatives in the field of psychoanalysis, cultural anthropology and sociology. In some languages the motives of black magic, evil eye (in Polish, Ukrainian and Russian) are rooted in the sphere of folk believes and invocations, as well as cultural anthroponyms.

AbstractIn Niger, there is an increasing rejection ofpolitik(a term with highly pejorative connotations): that is, party politics and the politics of democracy, characterized by personal rivalries and power struggles between clans and factions. But there is a direct link (albeit not a causal one) between the social perceptions of intra-familial rivalries and the social perceptions of political rivalries. The archetypical relationship among thebaab-izey(children of one father but different mothers) is characterized by competition and jealousy. This is a product of the latent rivalry that pits co-wives against each other. Polygamy is clearly at odds with a number of received ideas and clichés about ‘the African family’ as primarily a locus of support and solidarity. Such formal social norms may reign in public situations, but in private de facto practical norms give rise to subtle discriminations and the omnipresence of more or less hidden conflicts within the family. The same is true for the political microcosm of Niger. While the public norm of the concern for the public good is supposed to regulate political behaviours, rivalry and jealousy are structural components of the political world. Thebaab-izeypattern is frequently used in reference to politicians. Political conflicts are above all personal/factional conflicts in which friends and supporters are implicated, and are rivalries of proximity. In the familial space as in the political space, ‘magico-religious entrepreneurs’ (i.e. experts in the occult) are merely an ‘accelerator’ of these conflicts: they reinforce suspicions about the familial or political entourage, which, in turn, intensify rivalries.

For more than two decades, research focusing on both clinical and non-clinical populations has suggested a key role for specific regions in the regulation of self-conscious emotions. It is speculated that both the expression and the interpretation of self-conscious emotions are critical in humans for action planning and response, communication, learning, parenting, and most social encounters. Empathy, Guilt, Jealousy, Shame, and Pride are all categorized as self-conscious emotions, all of which are crucial components to one’s sense of self. There has been an abundance of evidence pointing to the right Fronto-Temporal involvement in the integration of cognitive processes underlying the expression of these emotions. Numerous regions within the right hemisphere have been identified including the right temporal parietal junction (rTPJ), the orbitofrontal cortex (OFC), and the inferior parietal lobule (IPL). In this review, we aim to investigate patient cases, in addition to clinical and non-clinical studies. We also aim to highlight these specific brain regions pivotal to the right hemispheric dominance observed in the neural correlates of such self-conscious emotions and provide the potential role that self-conscious emotions play in evolution.

In this study, the effect of social sexual behavior on workers’ productivity is examined from the perspective of individual managers, individual employees and work groups. A case study of banks in Delta State, Nigeria, is adopted to investigate the effect of social sexual behavior on workers’ productivity from a different cultural perspective as obtainable in literature. A measure of workers’ productivity and their interaction with components of social sexual behavior; sexual harassment and workplace romances, was obtained from 110 employees sampled from three banks within the study region through a questionnaire. Sex, age, marital status, education and employment status were adopted as moderating variables for the study. Multiple regression analysis was used in testing the hypotheses of the study. Result of this work reveal amongst others that sexually suggestive jokes or comments about a person’s dress or body, made in their presence or directed towards them from a co-worker or customer could lead to demoralization of workers and poor interpersonal job performance between coworkers or of a worker towards a customer. The study further reveal that workplace romance could trigger jealousy among other employees, thereby leading to a failed interpersonal job performance and low productivity. The study recommends that organizations should clearly define their climate for social sexual behavior to both workers and customers through policies and sensitization with strict penalties given to defaulters.

The purpose of this study is to examine the effect of romantic relationship quality on subjective well-being moderated by jealousy on married adolescents. This study used quantitative method with the participants were 300 married adolescents aged 21 to 30 years old in Bandung. The sampling technique used nonprobability sampling that is accidental sampling. The instrument used adaptation of Scale of Positive and Negative Experience (SPANE), The Satisfaction with Life Scale (SWLS), The Perceived Relationship Quality Component (PRQC), and The Interpersonal Jealousy Scale. The data analysis used simple and multiple regression. The results show that jealousy variable can statistically and significantly moderate the effect of romantic relationship quality on subjective well-being. The regression results of jealousy on different groups, that is high, medium, and low, lead to different results on its effect on subjective well-being.

Penelitian ini bertujuan 1) Untuk mengetahui dan menganalisis upaya pemerintah kecamatan Bone-Bone kabupaten Luwu Utara dalam meningkatkan kesejahteraan masyarakat. 2) Untuk mengetahui dan menganalisis faktor apa yang menghambat upaya peningkatan kesejahteraan masyarakat di kecamatan Bone-Bone kabupaten Luwu Utara. Penelitian ini menggunakan metode kualitatif. Pengumpulan data dilakukan dengan teknik: observasi, wawancara, penelusuran data online dan dokumentasi. Jenis dan sumber data dalam penelitian ini diperoleh dari data primer dan data sekunder. Hasil penelitian menunjukan bahwa upaya pemerintah kecamatan Bone-Bone Kabupaten Luwu Utara dalam meningkatkan kesejahteraan masyarakat sudah cukup berjalan dengan baik akan tetapi masih ada beberapa hal yang perlu diperbaiki dan di tata lebih baik lagi seperti para pendamping PKH tidak melibatkan masyarakat umum dalam sosialisasi PKH sehingga banyak masyarakat yang seharusnya mendapatkan bantuan PKH namun tidak menerima bantuan. Kurangnya pengetahuan calon PKH tentang prosedur PKH mengakibatkan terjadinya masalah seperti ketika para calon PKH telah terdaftar menjadi penerima PKH namun saat validasi ternyata tidak susuai dengan syarat yang telah ditetapkan, seperti harus adanya komponen pendidikan, kesehatan dan kesejahteraan sosial, sehingga terjadilah kecemburuan sosial antara masyarakat tersebut. This study aims 1) To determine and analyze the efforts of the Bone-Bone sub-district government, North Luwu district in improving the welfare of the community. 2) To find out and analyze what factors hinder efforts to improve community welfare in Bone-Bone sub-district, North Luwu district. This study uses a qualitative method. Data was collected using the following techniques: observation, interview, online data search and documentation. The types and sources of data in this study were obtained from primary data and secondary data. The results showed that the efforts of the Bone-Bone sub-district government of North Luwu Regency in improving the welfare of the community had gone well enough but there were still some things that needed to be improved and better managed, such as PKH facilitators not involving the general public in PKH socialization so that many people who should have received PKH assistance but did not receive assistance. The lack of knowledge of PKH candidates about PKH procedures results in problems such as when PKH candidates have been registered as PKH recipients but during validation it turns out that they do not comply with the conditions that have been set, such as the existence of components of education, health and social welfare, so that social jealousy occurs between the community.

The current study investigated the psychometric properties of the Persian translation of the Mate Retention Inventory–Short Form (MRI-SF) in Iran. We also investigated sex differences in the use of mate retention tactics and investigated the relationships between mate retention behaviors and a number of related cultural constructs. Participants ( N = 308) ranged in age from 18 to 57 years. All participants were in a committed romantic relationship, with mean relationship length of 63.5 months ( SD = 73.8). Participants completed the Persian translation of the MRI-SF and measures of religiosity, relationship satisfaction, self-esteem, and socioeconomic status. Cultural measures specific to Iran were also included, such as Mahr (for married individuals), self-perceived Qeiratiness (for men), and self-perceived jealousy (for women). Mahr is a mandatory amount of money or possessions paid or promised to be paid by the groom to the bride at the time of the marriage contract. Qeirati is a male-specific adjective in Persian meaning protective against unwanted attention toward a man’s romantic partner. Female jealousy is usually regarded the counterpart of male Qeiratiness in Iranian culture. The 19 mate retention tactics formed a two-component structure, consistent with previous research. Results demonstrate adequate internal consistency of 2-item assessments of mate retention tactics. Observed sex differences accorded with previous mate retention research and are discussed in reference to evolutionary perspectives on human mating. Several significant associations emerged between mate retention tactics and Iranian culture-specific variables and are discussed from a cross-cultural perspective.

На основе теоретического обобщения результатов разнородных исследований человеческой сексуальности реконструированы основные этапы ее эволюции. Показана сложная динамическая связь между такими уровнями явлений и процессов как: внешняя природная и социальная среда (опасности, способы пропитания, отношения с другими группами); групповые потребности и практики в регулировании внутренних отношений, индивидуальные заботы и практики мужчин и женщин, включающие как врожденные инстинктивные программы, так и поведенческие стереотипы, внешний облик и внешние половые признаки, строение мужских и женских гениталий, устройство репродуктивных систем. Анатомические, физиологические и психофизиологические структуры несут в себе отпечаток наиболее древних социальных порядков и сексуальной жизни наших далеких предков. Вокруг репродуктивного «ядра» выстраивается множество дополнительных забот и структур самой разной природы, связанных с привлекательностью, эротическими сигналами и ответами, возбуждением, разнообразными чувствами, моральными отношениями, взаимодействиями, практиками (страсть, любовь, солидарность, долг верности, эротический престиж, власть, сексуальная собственность, ревность, насилие и др.). При этом, ментальные и поведенческие компоненты сексуальности многослойны и наряду с архаическими структурами включают более или менее гибкие, пластичные слои, меняющиеся от эпохи к эпохе, от культуры к культуре, от одних социальных порядков родства, власти, богатства, престижа, насилия – к другим порядкам. Вся эта «периферийная» сфера сексуальности обретает свою автономию со своими механизмами и закономерностями, которые тесно связаны с экологией, культурой и социальным устройством окружения, поэтому далеко не всегда и не во всем определяются заботами и структурами «ядра» – репродуктивной системы человека и наследственных механизмов адаптации. Как «ядро», так и «периферия» сексуальности характеризуются дополнительными витками сложности. Сексуальные заботы и структуры каждого пола теснейшим образом связаны с заботами и структурами противоположного пола, во многих аспектах они представляют собой и эволюционируют как целое, хоть и разделенное по индивидам обоих полов. Каждый крупный период антропогенеза наложил свой отпечаток на человеческую сексуальность. Показано, что возобновляющиеся напряжения в сексуальной сфере (в частности, связанные с супружескими изменами) указывают на некий внутренний конфликт между глубинными свойствами сексуальности и последующими социальными, культурными наслоениями. Diverse studies of human sexuality allow a conceptual reconstruction of its main evolutionary stages. There are complex dynamic interconnections between natural and social environment (hazards, subsistence strategies, intergroup relations), group needs and practices concerning intragroup interactions; individual concerns and practices of men and women including both innate instinctive programs and behavioral stereotypes; appearance and sexual characteristics; the structure of male and female genitalia and reproductive systems. Anatomical, physiological and psychophysiological structures bear the imprint of the most ancient social orders and the sexual life of our distant ancestors. Many concerns and structures of a very different nature are built around the reproductive “core”. These include attractiveness, erotic signals and responses, arousal, various feelings, emotional relations, interactions and practices (passion, love, solidarity, fidelity, erotic prestige, power, sexual property, jealousy, violence, etc.). At the same time the mental and behavioral components of sexuality are multilayered and, along with archaic structures, include more or less flexible layers that change from era to era, from culture to culture, from one social orders of kinship, power, wealth, prestige, violence to others. All this “peripheral” sexuality acquires its autonomy with its own mechanisms and patterns, which are closely related to ecology, culture and social environment, therefore, they are not always determined by the concerns and structures of the “core”: human reproductive system and hereditary adaptive mechanisms. Both the “core” and “periphery” of sexuality are characterized by additional turns of complexity. Sexual concerns and structures of males and females are closely related to the concerns and structures of the opposite sex, in many aspects they evolve as a whole, albeit divided among individuals of both sexes. Each major period of anthropogenesis has left its mark on human sexuality. It is shown that renewed tensions in the sexual sphere (in particular, associated with adultery) indicate a certain internal conflict between the deep properties of sexuality and subsequent social and cultural layers.

Pancreatic cancer is an aggressive form of cancer with increasing incidence and a 5-year survival rate of 4% for all stages. Depression and anxiety have a higher prevalence than the general population in all cancer types. Also, rates of depression in patients with pancreatic cancer are higher than in patients with other types of gastrointestinal neoplasms. Depression in pancreatic cancer has also been shown to impair quality of life, so early and adequate antidepressant treatment is an essential component of comprehensive supportive care.We would like to report the case of a 67-year-old female patient, with no previous psychiatric history, brought to the psychiatry emergency unit by her husband for psycho-motor agitation, persecutory delusions, delusional jealousy and bizarre behavior. According to her husband, the symptoms started insidiously over the last few weeks and that she attempted suicide by drug overdose three days before admission to our clinic, which she denies. Three years prior to her hospitalization the patient received surgical, radiotherapy and chemotherapy treatment for a base of tongue tumor and 6 months prior to her psychiatric admission, the was diagnosed with cephalic pancreatic neoplasm for which she received seven cycles of chemotherapy. Treatment with mirtazapine, risperidone, and lorazepam was initiated. The evolution was favorable and the patient was discharged one week later.Early recognition and treatment of mood disorders associated with cancer are important because, left untreated, they may lead to difficulty in managing symptoms, increased demand for health services and low adherence to treatment.Disclosure of interestThe authors have not supplied their declaration of competing interest.

Meaning is the main element needed to achieve happiness; including the meaning of life. In many studies, meaning of life is defined in terms of purpose, significance, or a multifaceted construct. One of the empirical reviews that is still necessitated in the study of meaning of life is the one which focuses on significance. This article attempts to provide answers to this question according to the perspective of the local wisdom of the Samin tribe as a part of the Javanese tribe. The Samin tribe is the name presented to the community that adheres to a doctrine in regards to “laku” or behavior that is believed to be taught by Samin Surosentiko. In other words, they are also known as “Sedulur Sikep”. Historically it can be traced that their presence was closely related to the passive resistance to the Dutch colonial government that colonized Indonesia around the 19th century. For the Samin tribe, there are no colonial laws. Instead, there are only laws of action, speech and necessity, which include not committing crimes, not arguing, not fighting, not having jealousy, not coveting or stealing, and not lying or slandering. The Samin tribe teaches these values to their generation because they believe that if they behave and act based on these values, they will live happily. The technique used is referred to as “kanda/pitutur” or giving advice by giving examples. This study used a qualitative approach in the form of phenomenology to understand the personal dimensions of the subject’s subjective experience on the meaning of the values of kanda/pitutur of sedulur sikep. The data were collected through in-depth interviews and observations on the Samin people. The data were analyzed in three stages, which were phenomenological reduction, eidetic reduction, and transcendental reduction. The results of this study provide a description of the reasons that make life worth living; as a transformation of the significance of meaning of life. The cognitive dimension as an evaluative component is related to self-acceptance, self-control, productive attitudes, autonomy, and positive relationships and harmonization with fellow living beings. In addition, there are also the affective and motivational dimensions shown.

Investigations of alcohol use in relation to cyber dating abuse (CDA) remain underdeveloped relative to alcohol-related face-to-face dating abuse research. A critical step toward advancing this area of research would include examining the applicability of alcohol-related partner abuse models to CDA perpetration. Existing models of alcohol-related partner abuse suggested that alcohol and partner abuse are more likely to co-occur in the presence of aggressogenic distal traits. We propose that this model may extend to CDA perpetration. Toward this end, the present study collected cross-sectional data from college students ( N = 258; 56.2% male) to investigate whether trait romantic jealousy moderated the association between alcohol problems and CDA perpetration, controlling for face-to-face dating abuse perpetration. We hypothesized that alcohol problems would positively relate to CDA perpetration among college students with high, but not low, romantic jealousy. We explored whether the interactive effect varied by sex. Results revealed a significant three-way interaction; the moderating role of romantic jealousy in the relation between alcohol problems and CDA perpetration varied by sex. Alcohol problems positively related to CDA perpetration for women with high, but not low, romantic jealousy. Alcohol problems did not relate to CDA perpetration regardless of men’s level of romantic jealousy. These preliminary results suggested that alcohol-related partner abuse models may be useful for conceptualizing CDA perpetration and identifying CDA intervention components.

While substantial research has been conducted on intimate partner violence (IPV), comparatively little research has examined peoples’ perceptions of which behaviors comprise this form of abuse. Early identification of IPV is critical to ending abuse, however, forms of IPV that typically occur earlier in a relationship (e.g., nonphysical abuse) may not be core components of peoples’ mental frameworks (schemas) of IPV and may therefore be less commonly identified as abusive. To explore this, in Study 1 participants from an Australian University ( N = 86) separately described the relationships with IPV and nonphysical IPV. Analyses identified control, power imbalance, stereotypical gender dynamics (male perpetrator, female victim), physical abuse, and having a low socioeconomic status abuser as common components of participants’ IPV schema when not prompted with type of abuse. However, participants largely failed to describe nonphysical IPV behaviors, suggesting limited awareness of the specific behaviors that constitute abuse. To explore this in Study 2, participants from an Australian University ( N = 305) were asked to categorize a range of specific behaviors (including physically abusive, nonphysically abusive, and nonabusive behaviors) as definitely, maybe, or never abusive. Drawing on the known positive association between gender and romantic beliefs with the experience of abuse, we also assessed the relationship of identification of IPV behaviors to these beliefs. Moderated multilevel modeling showed that nonphysical IPV behaviors were generally perceived as less abusive than physical IPV behaviors. In addition, stronger endorsement of romantic jealousy was associated with evaluating nonphysical IPV as less abusive. However, romantic jealousy beliefs were not significantly associated with the perceived abusiveness of physical IPV behaviors. Findings support the conclusion that individuals’ IPV schemas contribute to a failure to identify nonphysical IPV behaviors as abusive, and this is particularly true for people who more strongly endorse romantic jealousy.

This research is aimed at exploring an appropriate solution for various conflicts in land use, particularly in optimizing the utilization of the neglected land in Gili Terawangan, Lombok Island. This solution is required to avoid potential horizontal conflicts among people, companies and government since 1993. Conflict over land in Lombok Island in general and Gili Terawangan particularly shows several factors; first, the wrong policy in the area of land (especially in tourist areas); second, the infirm attitude of the Party and the Government Land Office in the enforcement of laws; third, the jealousy of Gili Terawangan natives as cultivators; fourth, less responsibility employers (who acquire cultivating right); fifth, the absence of law protection for Gili Terawangan natives; sixth, the arrogant attitude of law enforcement officers. The comprehensive and final resolution to the conflicts of land use could only be achieved if: (i) the people, who already control and use or manage the land from time to time, are provided certainty on managing and optimizing the land based on the principles of welfare, justice, equity, efficiency and sustainability; (ii) the selection and determination of the companies that will be granted the right to cultivate (HGU) and the right to build (HGB) should be conducted based on the transparent principle. In this respect, the government could establish an independent team that involves all components of society and higher education.Key words: land dispute, tourism area, agrarian law.

<p>The healthy and happy human living revolves around establishing and maintaining stable relationships with each other. The life experiences pose whether these meaningful relationships are considered important for the well-being of individuals and communities. People constantly strive for cordial interactions with others, on one side, to avoid psycho-physiological damages such as loneliness and disapproval from others and on the other side, to shape their life meaningfully and grow purposefully. Empathy has been considered a vital component of one’s social cognition that contributes to one’s ability to understand and respond adaptively to others’ emotions that promotes prosocial behaviour in interpersonal relationships and communications. Empathy enhances cognitive abilities and emotional stability thus promoting well being in interpersonal relationships (Preston &amp; de Wall, 2002). The human qualities, for instance, attraction, love, kinship, friendship, jealousy, betrayal, forgiveness, communication, conflict and aggression are either positively or negatively connected to human relationship domain and vital for the wellbeing at all levels. And, for upholding wellbeing and interpersonal relationships, the predominant and promising dynamic seems to be the psychological component of empathy. The present presentation pungently brings out the conceptual details on the concept of empathy along with its imperative role in enhancing interpersonal affinity or relationships in enhancing wellbeing in general. This paper is presented to establish that empathy enhances the interpersonal relationship and well-being across the life span.<strong></strong></p>

This paper will discuss the way in which the creative component of my thesis Hannah’s Place uses a style of neo-historical fiction to find ‘good’ narratives in (once) ‘bad’ women, keeping with the theme, here paraphrased as: The work of any researcher in the humanities is to…challenge what is simply thought of as bad or good, to complicate essentialist categories and question passively accepted thinking. As a way of expanding this statement, I would like to begin by considering the following quote from Barthes on the nature of research. I believe he identifies the type of research that I have been involved with as a PhD candidate producing a ‘creative’ thesis in the field of Communications. What is a piece of research? To find out, we would need to have some idea of what a ‘result’ is. What is it that one finds? What is it one wants to find? What is missing? In what axiomatic field will the fact isolated, the meaning brought out, the statistical discovery be placed? No doubt it depends each time on the particular science approached, but from the moment a piece of research concerns the text (and the text extends very much further than the literary work) the research itself becomes text, production: to it, any ‘result’ is literally im-pertinent. Research is then the name which prudently, under the constraint of certain social conditions, we give to the activity of writing: research here moves on the side of writing, is an adventure of the signifier. (Barthes 198) My thesis sits within the theoretical framework of postmodern literature as a new form of the genre that has been termed ‘historical fiction’. Although the novel breaks away from and challenges the concept of the traditional ‘saga’ style of narrative, or ‘grand narrative’ within historical fiction, it is no less concerned with events of the past and the idea of past experience. It departs from traditional historical fiction in that it foregrounds not only an imagined fictional past world created when the novel is read, but also the actual archival documents, the pieces of text from the past from which traditional history is made, and which here have been used to create that world–‘sparking points’ for the fictional narrative. These archival documents are used within the work as intertextual elements that frame, and, in turn, are framed by the transworld characters’ homodiegetic narrations. The term ‘transworld character’ has been attributed to Umberto Eco and refers to any real world personages found within a fictional text. Eco defines it as the ‘identity of a given individual through worlds (transworld identity)…where the possible world is a possible state of affairs expressed by a set of relevant propositions [either true or untrue which] outlines a set of possible individuals along with their properties’ (219). Umberto Eco also considers that a problem of transworld identity is ‘to single out something as persistent through alternative states of affairs’ (230). In Postmodernist Fiction, Brian McHale also puts forward a number of definitions for ‘transworld identity’. For my purposes, I take it to mean both that defined by Eco but also the literary device, as defined by McHale, of ‘borrowing a character from another text’ (57). It is McHale who elaborates on the concept as it relates to historical fiction when he states: All historical novels, even the most traditional, typically involve some violation of ontological boundaries. For instance they often claim ‘transworld identity’ between characters in their projected worlds and real-world historical figures (16-17). Interestingly for the type of fiction that I am attempting to write, McHale also takes the idea into another area when he discusses the ontological levels of the historical dimension that transworld identities may undergo. Entities can change their ontological status in the course of history, in effect migrating from one ontological realm or level to another. For instance, real world entities and happenings can undergo ‘mythification’, moving from the profane realm to the realm of the sacred (36). For transworld identities, such as those within my novel, this may mean a change in status between the past, where they were stereotyped and categorised as ‘bad’ in contemporary newspapers (my intertext elements), to something in the present approaching ‘good’, or at least a more rounded female identity within a fictional world. The introduced textual elements which I foreground in my novel are those things most often hidden from view within the mimetic and hermeneutic worlds of traditional historical fiction. The sources re-textualised within my novel are both ‘real’ items from our past, and representations and interpretations of past events. The female transworld characters’ stories in this novel are imaginative re-interpretations. Therefore, both the fictional stories, as well as their sources, are textual interpretations of prior events. In this way, the novel plays with the idea of historical ‘fact’ and historical ‘fiction’. It blurs their boundaries. It gives textual equality to each in order to bring a form of textual agency to those marginalised groups defined by PF Bradley as the ‘host of jarring witnesses, [of history] a chaos of disjoined and discrepant narrations’ (Bradley in Holton 11): In the past in Australia these were lower class women, Aboriginals, the Irish, the illiterate, and poor agricultural immigrants whose labour was excess to Britain’s needs. Hannah’s Place – A Brief Synopsis Six individual women’s stories, embedded in or ‘framed’ by a fictional topographic artist’s journal, recount ‘real’ events from Australia’s colonial past. The journal is set in 1845; a few years after convict transportation to Australia’s eastern states ceased, and the year of the first art exhibition held in the colony. That same year, Leichhardt’s expedition arrived at Port Essington in Australia’s far north, after 12 months inland exploration, while in the far south the immigrant ship Cataraqui was wrecked one day short of arrival at Melbourne’s Port Phillip with the drowning of all but one of the 369 immigrants and 38 of the 46 sailors on board. Each chapter title takes the form of the title of a topographic sketch as a way of placing the text ‘visually’ within the artist’s journal narrative. The six women’s stories are: New South Wales at Last (Woman on a Boat): A woman arrives with a sick toddler to tent accommodation for poor immigrants in Sydney, after a three month sea voyage and the shipboard birth, death, and burial at sea of her baby daughter. Yarramundi Homestead, as Seen from the East: An ill-treated Irish servant girl on a squatter’s run awaits the arrival of her fiancée, travelling on board the immigrant ship Cataraqui. In the Vale of Hartley: In the Blue Mountains, an emancipist sawyer who previously murdered three people, violently beats to death his lover, Caroline Collitts, the seventeen-year-old sister of Maria, his fifteen-year-old wife. She Being Dead Yet Speaketh: In Goulburn, Annie Brownlow, a pretty 24-year-old mother of three is executed by a convict executioner for the accidental ‘murder’, while drunk, of her adulterous husband. The Eldest Daughter: The isolated wife of a small settler gives birth, assisted by Lottie, her eldest daughter, and Merrung, an Aboriginal midwife. On Wednesday Last, at Mr Ley’s Coach and Horses Hotel: In Bathurst, a vagrant alcoholic, Hannah Simpson, dies on the floor of a dodgy boarding house after a night and a day of falling into fits and ranting about her lifetime of 30 years migration. Historiographic Metafiction Has been defined by Linda Hutcheon as ‘Fiction which keeps distinct its formal auto-representation from its historical context and in so doing problematises the very possibility of historical knowledge… There is no reconciliation, no dialectic…just unresolved contradiction’ (106). Unresolved contradiction is one of the themes that surfaces in my novel because of the juxtaposition of archival documents (past text ‘facts’) alongside fictional narrative. Historiographic metafiction can usefully be employed as a means of challenging prior patriarchal narratives written about marginalised women. It allows the freedom to create a space for a new understanding of silenced women’s lives. My novel seeks to illuminate and problematise the previously ‘seamless’ genre of hical fiction by the use of (narrative) techniques such as: collage and juxtaposition, intertextuality, framing, embedded narrative, linked stories, and footnote intertext of archival material. Juxtaposition of the fiction against elements from prior non-fiction texts, clearly enunciated as being those same actual historical sources upon which the fiction is based, reinforces this novel as a work of fiction. Yet this strategy also reminds us that the historical narrative created is provisional, residing within the fictional text and in the gaps between the fictional text and the non-fictional intertext. At the same time, the clear narrativity, the suspenseful and sensationalised text of the archival non-fiction, brings them into question because of their place alongside the fiction. A reading of the novel questions the truthfulness or degree of reliability of past textual ‘facts’ as accurate records of real women’s life events. It does this by the use of a parallel narrative, which articulates characters whose moments of ‘breaking frame’ challenge those same past texts. Their ‘fiction’ as characters is reinforced by their existence as ‘objects’ of narration within the archival texts. Both the archival texts and the fiction can be seen as ‘unreliable’. The novel uses ex-centric transworld characters and embedded intertextual ‘fragments’ to create a covert self-reflexivity. It also confuses and disrupts narrative temporality and linearity of plot in two ways. It juxtaposes ‘real’ (intertextual element) dates alongside conflicting or unknown periods of time from the fictional narrative; and, within the artist’s journal, it has a minimal use of expected temporal ‘signposts’. These ‘signposts’ of year dates, months, or days of the week are those things that would be most expected in an authentic travel narrative. In this way, the women’s stories subvert the idea, inherent in previous forms of ‘historical’ fiction, of a single point of view or ‘take’ on history that one or two main characters may hold. The use of intertext results in a continued restating of multiple, conflicting (gender, race, and class) points of view. Ultimately no one ‘correct’ reading of the past gains in supremacy over any other. This narrative construct rearticulates the idea that the past, as does the present, comprises different points of view, not all of which conform to the ‘correct’ view created by the political, social and economic ‘factors’ dominant at the time those events happen. For colonial Australia, this single point of view gave us the myth of heroic (white male) pioneers and positioned women such as some of those within my fiction as ‘bad’. The fictional text challenges that of the male ‘gaze’, which constructed these women as ‘objects’. Examples of this from the newspaper articles are: A younger sister of Caroline Collit, married John Walsh, the convict at present under sentence of death in Bathurst gaol, and, it appears, continued to live with him up till the time of her sister’s murder; but she, as well as her sister Caroline, since the trial, have been ascertained to have borne very loose characters, which is fully established by the fact, that both before and after Walsh had married the younger sister, Caroline cohabited with him and had in fact been for a considerable time living with him, under the same roof with her sister, and in a state of separation from her own husband (Collit). Sydney Morning Herald, April 27, 1842, The Mount Victoria Murder. About twelve months after her marriage, her mother who was a notorious drunkard hanged herself in her own house… Sydney Morning Herald, April 27, 1842, The Mount Victoria Murder. And when we further reflect that the perpetrator of that deed of blood was a woman our horror is, if possible, much augmented. Yes! A woman and one who ought to have been in as much as the means were assuredly in the power of her family-an ornament to her sex and station. She has been cut off in the midst of her days by the hands of the common executioner. And to add to our distress at this sad event she to whose tragic end I am referring was a wife and a mother. It was her hand which struck the blow that rendered her children orphans and brought her to an ignominious end… The Goulburn Herald, October 20, 1855, Funeral sermon on Mary Ann Brownlow. His wife had been drinking and created an altercation on account of his having sold [her] lease; she asked him to drink, but he refused, when she replied “You can go and drink with your fancywoman”. She came after him as he was going away and stabbed him…..she did it from jealousy, although he had never given her any cause for jealousy. The Goulburn Herald, Saturday, September 15, 1855, Tuesday, September 11, Wilful Murder. She was always most obedient and quiet in her conduct, and her melancholy winning manners soon procured her the sympathy of all who came in contact with her. She became deeply impressed with the sinfulness of her previous life… The Goulburn Herald, October 13, 1855, Execution of Mary Ann Brownlow. [Police] had known the deceased who was a confirmed drunkard and an abandoned woman without any home or place of abode; did not believe she had any proper means of support…The Bathurst Times, November 1871. It is the oppositional and strong narrative ‘voice’ that elicits sympathies for and with the women’s situations. The fictional narratives were written to challenge unsympathetic pre-existing narratives found within the archival intertexts. This male ‘voice’ was one that narrated and positioned women such that they adhered to pre-existing notions of morality; what it meant to be a ‘good’ woman (like Mary Ann Brownlow, reformed in gaol but still sentenced to death) or a ‘bad’ woman (Mary Ann again as the murdering drunken vengeful wife, stabbing her husband in a jealous rage). ‘Reading between the lines’ of history in this way, creating fictional stories and juxtaposing them against the non-fiction prior articulations of those same events, is an opportunity to make use of narrative structure in order to destabilise established constructs of our colonial past. For example, the trope of Australia’s colonial settler women as exampled in the notion of Anne Summers of colonial women as either God’s police or damned whores. ‘A Particularly rigid dualistic notion of women’s function in colonial society was embodied in two stereotypes….that women are either good [God’s police] or evil [Damned whores]’ (67). With this dualism in mind, it is also useful here to consider the assumption made by Veeser in laying the ground work for New Historicism, that ‘no discourse imaginative or archival, gives access to unchanging truths or expresses unalterable human nature’ (2). In a discussion of the ideas of Brian McHale, Middleton and Woods acknowledge McHale’s point of view that readers do recognise the degree to which all knowledge of the past is a construction. They make the claim that ‘the postmodern novelist answers that sense of dislocation and loss…by wrapping ruins of earlier textualities around the narrative’ (66). This to my mind is a call for the type of intertextuality that I have attempted in my thesis. The senses of dislocation and loss found when we attempt to narrativise history are embodied in the structure of the creative component of my thesis. Yet it could also be argued that the cultural complexity of colonial Australia, with women as the subjugated ‘other’ of a disempowered voice has only been constructed by and from within the present. The ‘real’ women from whose lives these stories are imagined could not have perceived their lives within the frames (class, gender, post coloniality) that we now understand in the same way that we as educated westerners cannot totally perceive a tribal culture’s view of the cosmos as a real ‘fact’. However, a fictional re-articulation of historical ‘facts’, using a framework of postmodern neo-historical fiction, allows archival documents to be understood as the traces of women to whom those documented facts once referred. The archival record becomes once again a thing that describes a world of women. It is within these archival micro-histories of illiterate lower-class women that we find shards of our hidden past. By fictionally imagining a possible narrative of their lives we, as the author/reader nexus which creates the image of who these transworld characters were, allow for things that existed in the past as possibility. The fictionalised stories, based on fragments of ‘facts’ from the past, are a way of invoking what could have once existed. In this way the stories partake of the Bernstein and Morson concept of ‘sideshadowing’. Sideshadowing admits, in addition to actualities and impossibilities, a middle realm of real possibilities that could have happened even if they did not. Things could have been different from the way they were, there are real alternatives to the present we know, and the future admits of various possibilities… sideshadowing deepens our sense of the openness of time. It has profound implications for our understanding of history and of our own lives (Morson 6). The possibilities that sideshadowing their lives invokes in these stories ‘alters the way that we think about earlier events and the narrative models used to describe them’ (Morson 7). We alter our view of the women, as initially described in the archival record, because we now perceive the narrative through which these events and therefore ‘lives’ of the women were written, as merely ‘one possibility’ of many that may have occurred. Sideshadowing alternate possibilities gives us a way out of that patriarchal hegemony into a more multi-dimensional and non-linear view of female lives in 19th Century Australia. Sideshadowing allows for the ‘non-closure’ within female narratives that these fragments of women’s lives represent. It is this which is at the core of the novel—an historiographic metafictional challenging by the fictional ‘voices’ of female transworld characters. In this work, they narrate from a female perspective the might-have-been alternative of that previously considered as an historical, legitimate account of the past. Barthes and Bakhtin Readers of this type of historiographic metafiction have the freedom to recreate an historical fictional world. By virtue of the use of self-reflexivity and intertext they participate in a fictional world constructed by themselves from the author(s) of the text(s) and the intertext, and the original women’s voices used as quotations by the intertext’s (male) author. This world is based upon their construction of a past created from the author’s research, the author’s subjectivity (from within and by disciplinary discourse), by the author(s) choice of ‘signifiers’ and the meanings that these choices create within the reader’s subjectivity (itself formed out of their individual cultural and social milieu). This idea echoes Barthes concept of the ‘death of the author’, such that: As soon as a fact is narrated no longer with a view to acting directly on reality but intransitively, that is to say, finally outside of any function other than that of the very practice of the symbol itself; this disconnection occurs, the voice loses its origin, the author enters into his own death, writing begins. (142) When entering into the world created by this style of historical fiction the reader also enters into a world of previous ‘texts’ (or intertexts) and the multitude of voices inherent in them. This is the Bakhtinian concept of heteroglossia, that ‘every utterance contains within it the trace of other utterances, both in the past and in the future’ (263). The narrative formed thus becomes one of multiple ‘truths’ and therefore multiple histories. Once written as ‘bad’, the women are now perceived as ‘good’ characters and the ‘bad’ events that occurred around them and to them make up ‘good’ elements of plot, structure, characterisation and voice for a fictionalised version of a past possibility. Bad women make good reading. Conclusion This type of narrative structure allows for the limits of the silenced ‘voice’ of the past, and therefore an understanding of marginalised groups within hegemonic grand narratives, to be approached. It seems to me no surprise that neo-historical fiction is used more when the subjects written about are members of marginalised groups. Silenced voices need to be heard. Because these women left no written account of their experiences, and because we can never experience the society within which their identities were formed, we will never know their ‘identity’ as they experienced it. Fictional self-narrated stories of transworld characters allows for a transformation of the women away from an identity created by the moralising, stereotyped descriptions in the newspapers towards a more fully developed sense of female identity. Third-hand male accounts written for the (then) newspaper readers consumption (and for us as occupiers of the ‘future’) are a construct of one possible identity only. They do not reflect the women’s reality. Adding another fictional ‘identity’ through an imagined self-narrated account deconstructs that limited ‘identity’ formed through the male ‘gaze’. It does so because of the ability of fiction to allow the reader to create a fictional world which can be experienced imaginatively and from within their own subjectivity. Rather than something passively recorded, literature offers history as a permanent reactivation of the past in a critique of the present, and at the level of content offers a textual anamnesis for the hitherto ignored, unacknowledged or repressed pasts marginalised by the dominant histories. (Middleton and Woods 77) References Bakhtin, Mikhail. The Dialogic Imagination: Four Essays. Trans. Michael Holquist. Ed. Caryl Emerson. Austin: U of Texas P, 1981. Barthes, Roland, and Stephen Heath, eds. Image, Music, Text. New York: Hill and Wang, 1977. Eco, Umberto. The Role of the Reader: Explorations in the Semiotics of Texts. Bloomington and London: Indiana UP, 1979. Holton, Robert. Jarring Witnesses: Modern Fiction and the Representation of History. New York: Harvester Wheatsheaf, 1994. Hutcheon, Linda. A Poetics of Postmodernism: History, Theory, Fiction. New York: Routledge, 1988. McHale, Brian. Postmodernist Fiction. New York and London: Methuen, 1987. Middleton, Peter, and Tim Woods. Literatures of Memory: History, Time and Space in Postwar Writing. Manchester and New York: Manchester UP, 2000. Morson, Gary Saul. Narrative and Freedom: The Shadows of Time. New Haven: Yale UP, 1994. Summers, Anne. Damned Whores and God’s Police. Ringwood Vic: Penguin Books, 1994. Veeser, H. Aram. The New Historicism. London: Routledge, 1989. Citation reference for this article MLA Style Lowes, Elanna Herbert. "Transgressive Women, Transworld Women: The Once ‘Bad’ Can Make ‘Good’ Narratives." M/C Journal 8.1 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0502/04-herbertlowes.php>. APA Style Lowes, E. (Feb. 2005) "Transgressive Women, Transworld Women: The Once ‘Bad’ Can Make ‘Good’ Narratives," M/C Journal, 8(1). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0502/04-herbertlowes.php>.

Photograph by Gonzalo Echeverria (2010)The Screen would light up. They would feel a thrill of satisfaction. But the colours had faded with age, the picture wobbled on the screen, the women were of another age; they would come out they would be sad. It was not the film they had dreamt of. It was not the total film each of them had inside himself, the perfect film they could have enjoyed forever and ever. The film they would have liked to make. Or, more secretly, no doubt, the film they would have liked to live. (Perec 57) Over the years that I have watched and thought about Jean-Luc Godard’s films I have been struck by the idea of him as an artist who works with the moving image and perhaps just as importantly the idea of cinema as an irresolvable series of problems. Most obviously this ‘problematic condition’ of Godard’s practice is evidenced in the series of crises and renunciations that pepper the historical trace of his work. A trace that is often characterised thus: criticism, the Nouvelle Vague, May 1968, the Dziga Vertov group, the adoption of video, the return to narrative form, etc. etc. Of all these events it is the rejection of both the dominant cinematic narrative form and its attendant models of production that so clearly indicated the depth and intensity of Godard’s doubt in the artistic viability of the institution of cinema. Historically and ideologically congruent with the events of May 1968, this turning away from tradition was foreshadowed by the closing titles of his 1967 opus Week End: fin de cinema (the end of cinema). Godard’s relentless application to the task of engaging a more discursive and politically informed mode of operation had implications not only for the films that were made in the wake of his disavowal of cinema but also for those that preceded it. In writing this paper it was my initial intention to selectively consider the vast oeuvre of the filmmaker as a type of conceptual project that has in some way been defined by the condition of doubt. While to certain degree I have followed this remit, I have found it necessary to focus on a small number of historically correspondent filmic instances to make my point. The sheer size and complexity of Godard’s output would effectively doom any other approach to deal in generalities. To this end I am interested in the ways that these films have embodied doubt as both an aesthetic and philosophical position. There is an enduring sense of contentiousness that surrounds both the work and perceived motives of the filmmaker Jean-Luc Godard that has never come at the cost of discourse. Through a period of activity that now stretches into its sixth decade Godard has shaped an oeuvre that is as stylistically diverse as it is theoretically challenging. This span of practice is noteworthy not only for its sheer length but for its enduring ability to polarise both audiences and critical opinion. Indeed these opposing critical positions are so well inscribed in our historical understanding of Godard’s practice that they function as a type of secondary narrative. It is a narrative that the artist himself has been more than happy to cultivate and at times even engage. One hardly needs to be reminded that Godard came to making films as a critic. He asserted in the pages of his former employer Cahiers du Cinema in 1962 that “As a critic, I thought of myself as a filmmaker. Today I still think of myself as a critic, and in a sense I am, more than ever before. Instead of writing criticism, I make a film, but the critical dimension is subsumed” (59). If Godard did at this point in time believe that the criticality of practice as a filmmaker was “subsumed”, the ensuing years would see a more overt sense of criticality emerge in his work. By 1968 he was to largely reject both traditional cinematic form and production models in a concerted effort to explore the possibilities of a revolutionary cinema. In the same interview the director went on to extol the virtues of the cine-literacy that to a large part defined the loose alignment of Nouvelle Vague directors (Chabrol, Godard, Rohmer, Rivette, Truffaut) referred to as the Cahiers group claiming that “We were the first directors to know that Griffiths exists” (Godard 60). It is a statement that is as persuasive as it is dramatic, foregrounding the hitherto obscured history of cinema while positioning the group firmly within its master narrative. However, given the benefit of hindsight one realises that perhaps the filmmaker’s motives were not as simple as historical posturing. For Godard what is at stake is not just the history of cinema but cinema itself. When he states that “We were thinking cinema and at a certain moment we felt the need to extend that thought” one is struck by how far and for how long he has continued to think about and through cinema. In spite of the hours of strict ideological orthodoxy that accompanied his most politically informed works of the late 1960s and early 1970s or the sustained sense of wilful obtuseness that permeates his most “difficult” work, there is a sense of commitment to extending “that thought” that is without peer. The name “Godard”, in the words of the late critic Serge Daney, “designates an auteur but it is also synonymous with a tenacious passion for that region of the world of images we call the cinema” (Daney 68). It is a passion that is both the crux of his practice as an artist and the source of a restless experimentation and interrogation of the moving image. For Godard the passion of cinema is one that verges on religiosity. This carries with it all the philosophical and spiritual implications that the term implies. Cinema functions here as a system of signs that at once allows us to make sense of and live in the world. But this is a faith for Godard that is nothing if not tested. From the radical formal experimentation of his first feature film À Bout de soufflé (Breathless) onwards Godard has sought to place the idea of cinema in doubt. In this sense doubt becomes a type of critical engine that at once informs the shape of individual works and animates the constantly shifting positions the artist has occupied. Serge Daney's characterisation of the Nouvelle Vague as possessed of a “lucidity tinged with nostalgia” (70) is especially pertinent in understanding the way in which doubt came to animate Godard’s practice across the 1960s and beyond. Daney’s contention that the movement was both essentially nostalgic and saturated with an acute awareness that the past could not be recreated, casts the cinema itself as type of irresolvable proposition. Across the dazzling arc of films (15 features in 8 years) that Godard produced prior to his renunciation of narrative cinematic form in 1967, one can trace an unravelling of faith. During this period we can consider Godard's work and its increasingly complex engagement with the political as being predicated by the condition of doubt. The idea of the cinema as an industrial and social force increasingly permeates this work. For Godard the cinema becomes a site of questioning and ultimately reinvention. In his 1963 short film Le Grand Escroc (The Great Rogue) a character asserts that “cinema is the most beautiful fraud in the world”. Indeed it is this sense of the paradoxical that shadows much of his work. The binary of beauty and fraud, like that of faith and doubt, calls forth a questioning of the cinema that stands to this day. It is of no small consequence that so many of Godard’s 1960s works contain scenes of people watching films within the confines of a movie theatre. For Godard and his Nouvelle Vague peers the sale de cinema was both the hallowed site of cinematic reception and the terrain of the everyday. It is perhaps not surprising then he chooses the movie theatre as a site to play out some of his most profound engagements with the cinema. Considered in relation to each other these scenes of cinematic viewing trace a narrative in which an undeniable affection for the cinema is undercut by both a sense of loss and doubt. Perhaps the most famous of Godard’s ‘viewing’ scenes is from the film Vivre Sa Vie (My Life to Live). Essentially a tale of existential trauma, the film follows the downward spiral of a young woman Nana (played by Anna Karina) into prostitution and then death at the hands of ruthless pimps. Championed (with qualifications) by Susan Sontag as a “perfect film” (207), it garnered just as many detractors, including famously the director Roberto Rosellini, for what was perceived to be its nihilistic content and overly stylised form. Seeking refuge in a cinema after being cast out from her apartment for non payment of rent the increasingly desperate Nana is shown engrossed in the starkly silent images of Carl Dreyer’s 1928 film La Passion de Jeanne d’Arc (The Passion of Joan of Arc). Godard cuts from the action of his film to quote at length from Dreyer’s classic, returning from the mute intensity of Maria Faloconetti’s portrayal of the condemned Joan of Arc to Karina’s enraptured face. As Falconetti’s tears swell and fall so do Karina’s, the emotional rawness of the performance on the screen mirrored and internalised by the doomed character of Nana. Nana’s identification with that of the screen heroine is at once total and immaculate as her own brutal death at the hands of men is foretold. There is an ominous silence to this sequence that serves not only to foreground the sheer visual intensity of what is being shown but also to separate it from the world outside this purely cinematic space. However, if we are to read this scene as a testament to the power of the cinematic we must also admit to the doubt that resides within it. Godard’s act of separation invites us to consider the scene not only as a meditation on the emotional and existential state of the character of Nana but also on the foreshortened possibilities of the cinema itself. As Godard’s shots mirror those of Dreyer we are presented with a consummate portrait of irrevocable loss. This is a complex system of imagery that places Dreyer’s faith against Godard’s doubt without care for the possibility of resolution. Of all Godard’s 1960s films that feature cinema spectatorship the sequence belonging to Masculin Féminin (Masculine Feminine) from 1966 is perhaps the most confounding and certainly the most digressive. A series of events largely driven by a single character’s inability or unwillingness to surrender to the projected image serve to frustrate, fracture and complexify the cinema-viewing experience. It is however, a viewing experience that articulates the depth of Godard’s doubt in the viability of the cinematic form. The sequence, like much of the film itself, centres on the trials of the character Paul played by Jean-Pierre Léaud. Locked in a struggle against the pop-cultural currents of the day and the attendant culture of consumption and appearances, Paul is positioned within the film as a somewhat conflicted and ultimately doomed romantic. His relationship with Madeleine played by real life yé-yé singer Chantal Goya is a source of constant anxiety. The world that he inhabits, however marginally, of nightclubs, pop records and publicity seems philosophically at odds with the classical music and literature that he avidly devours. If the cinema-viewing scene of Vivre Sa Vie is defined by the enraptured intensity of Anna Karina’s gaze, the corresponding scene in Masculin Féminin stands, at least initially, as the very model of distracted spectatorship. As the film in the theatre starts, Paul who has been squeezed out of his seat next to Madeleine by her jealous girlfriend, declares that he needs to go to the toilet. On entering the bathroom he is confronted by the sight of a pair of men locked in a passionate kiss. It is a strange and disarming turn of events that prompts his hastily composed graffiti response: down with the republic of cowards. For theorist Nicole Brenez the appearance of these male lovers “is practically a fantasmatic image evoked by the amorous situation that Paul is experiencing” (Brenez 174). This quasi-spectral appearance of embracing lovers and grafitti writing is echoed in the following sequence where Paul once again leaves the theatre, this time to fervently inform the largely indifferent theatre projectionist about the correct projection ratio of the film being shown. On his graffiti strewn journey back inside Paul encounters an embracing man and woman nestled in an outer corner of the theatre building. Silent and motionless the presence of this intertwined couple is at once unsettling and prescient providing “a background real for what is being projected inside on the screen” (Brenez 174). On returning to the theatre Paul asks Madeleine to fill him in on what he has missed to which she replies, “It is about a man and woman in a foreign city who…”. Shot in Stockholm to appease the Swedish co-producers that stipulated that part of the production be made in Sweden, the film within a film occupies a fine line between restrained formal artfulness and pornographic violence. What could have been a creatively stifling demand on the part of his financial backers was inverted by Godard to become a complex exploration of power relations played out through an unsettling sexual encounter. When questioned on set by a Swedish television reporter what the film was about the filmmaker curtly replied, “The film has a lot to do with sex and the Swedish are known for that” (Masculin Féminin). The film possesses a barely concealed undertow of violence. A drama of resistance and submission is played out within the confines of a starkly decorated apartment. The apartment itself is a zone in which language ceases to operate or at the least is reduced to its barest components. The man’s imploring grunts are met with the woman’s repeated reply of “no”. What seemingly begins as a homage to the contemporaneous work of Swedish director Ingmar Bergman quickly slides into a chronicle of coercion. As the final scene of seduction/debasement is played out on the screen the camera pulls away to reveal the captivated gazes of Madeleine and her friends. It finally rests on Paul who then shuts his eyes, unable to bear what is being shown on the screen. It is a moment of refusal that marks a turning away not only from this projected image but from cinema itself. A point made all the clearer by Paul’s voiceover that accompanies the scene: We went to the movies often. The screen would light up and we would feel a thrill. But Madeleine and I were usually disappointed. The images were dated and jumpy. Marilyn Monroe had aged badly. We felt sad. It wasn't the movie of our dreams. It wasn't that total film we carried inside ourselves. That film we would have liked to make. Or, more secretly, no doubt the film we wanted to live. (Masculin Féminin) There was a dogged relentlessness to Godard’s interrogation of the cinema through the very space of its display. 1963’s Le Mépris (Contempt) swapped the public movie theatre for the private screening room; a theatrette emblazoned with the words Il cinema é un’invenzione senza avvenire. The phrase, presented in a style that recalled Soviet revolutionary graphics, is an Italian translation of Louis Lumiere’s 1895 appraisal of his new creation: “The cinema is an invention without a future.” The words have an almost physical presence in the space providing a fatalistic backdrop to the ensuing scene of conflict and commerce. As an exercise in self reflexivity it at once serves to remind us that even at its inception the cinema was cast in doubt. In Le Mépris the pleasures of spectatorship are played against the commercial demands of the cinema as industry. Following a screening of rushes for a troubled production of Homer’s Odyssey a tempestuous exchange ensues between a hot-headed producer (Jeremy Prokosch played by Jack Palance) and a calmly philosophical director (Fritz Lang as himself). It is a scene that attests to Godard’s view of the cinema as an art form that is creatively compromised by its own modes of production. In a film that plays the disintegration of a relationship against the production of a movie and that features a cast of Germans, Italians and French it is of no small consequence that the movie producer is played by an American. An American who, when faced with a creative impasse, utters the phrase “when I hear the word culture I bring out my checkbook”. It is one of Godard’s most acerbic and doubt filled sequences pitting as he does the implied genius of Lang against the tantrum throwing demands of the rapacious movie producer. We are presented with a model of industrial relations that is both creatively stifling and practically unworkable. Certainly it was no coincidence that Le Mépris had the biggest budget ($1 million) that Godard has ever worked with. In Godard’s 1965 film Une Femme Mariée (A Married Woman), he would once again use the movie theatre as a location. The film, which dealt with the philosophical implications of an adulterous affair, is also notable for its examination of the Holocaust and that defining event’s relationship to personal and collective memory. Biographer Richard Brody has observed that, “Godard introduced the Auschwitz trial into The Married Woman (sic) as a way of inserting his view of another sort of forgetting that he suggested had taken hold of France—the conjoined failures of historical and personal memory that resulted from the world of mass media and the ideology of gratification” (Brody 196-7). Whatever the causes, there is a pervading sense of amnesia that surrounds the Holocaust in the film. In one exchange the character of Charlotte, the married woman in question, momentarily confuses Auschwitz with thalidomide going on to later exclaim that “the past isn’t fun”. But like the barely repressed memories of her past indiscretions, the Holocaust returns at the most unexpected juncture in the film. In what starts out as Godard’s most overt reference to the work of Alfred Hitchcock, Charlotte and her lover secretly meet under the cover of darkness in a movie theatre. Each arriving separately and kitted out in dark sunglasses, there is breezy energy to this clandestine rendezvous highly reminiscent of the work of the great director. It is a stylistic point that is underscored in the film by the inclusion of a full-frame shot of Hitchcock’s portrait in the theatre’s foyer. However, as the lovers embrace the curtain rises on Alain Resnais’s 1955 documentary Nuit et Brouillard (Night and Fog). The screen is filled with images of barbed wire as the voice of narrator Jean Cayrol informs the audience that “even a vacation village with a fair and a steeple can lead very simply to a concentration camp.” It is an incredibly shocking moment, in which the repressed returns to confirm that while memory “isn’t fun”, it is indeed necessary. An uncanny sense of recognition pervades the scene as the two lovers are faced with the horrendous evidence of a past that refuses to stay subsumed. The scene is all the more powerful for the seemingly casual manner it is relayed. There is no suspenseful unveiling or affected gauging of the viewers’ reactions. What is simply is. In this moment of recognition the Hitchcockian mood of the anticipation of an illicit rendezvous is supplanted by a numbness as swift as it is complete. Needless to say the couple make a swift retreat from the now forever compromised space of the theatre. Indeed this scene is one of the most complex and historically layered of any that Godard had produced up to this point in his career. By making overt reference to Hitchcock he intimates that the cinema itself is deeply implicated in this perceived crisis of memory. What begins as a homage to the work of one of the most valorised influences of the Nouvelle Vague ends as a doubt filled meditation on the shortcomings of a system of representation. The question stands: how do we remember through the cinema? In this regard the scene signposts a line of investigation that would become a defining obsession of Godard’s expansive Histoire(s) du cinéma, a project that was to occupy him throughout the 1990s. Across four chapters and four and half hours Histoire(s) du cinéma examines the inextricable relationship between the history of the twentieth century and the cinema. Comprised almost completely of filmic quotations, images and text, the work employs a video-based visual language that unremittingly layers image upon image to dissolve and realign the past. In the words of theorist Junji Hori “Godard's historiography in Histoire(s) du cinéma is based principally on the concept of montage in his idiosyncratic sense of the term” (336). In identifying montage as the key strategy in Histoire(s) du cinéma Hori implicates the cinema itself as central to both Godard’s process of retelling history and remembering it. However, it is a process of remembering that is essentially compromised. Just as the relationship of the cinema to the Holocaust is bought into question in Une Femme Mariée, so too it becomes a central concern of Histoire(s) du cinéma. It is Godard’s assertion “that the cinema failed to honour its ethical commitment to presenting the unthinkable barbarity of the Nazi extermination camps” (Temple 332). This was a failure that for Godard moved beyond the realm of doubt to represent “nothing less than the end of cinema” (Brody 512). In October 1976 the New Yorker magazine published a profile of Jean Luc Godard by Penelope Gilliatt a writer who shared the post of film critic at the magazine with Pauline Kael. The article was based on an interview that took place at Godard’s production studio in Grenoble Switzerland. It was notable for two things: Namely, the most succinct statement that Godard has made regarding the enduring sense of criticality that pervades his work: “A good film is a matter of questions properly put.” (74) And secondly, surely the shortest sentence ever written about the filmmaker: “Doubt stands.” (77)ReferencesÀ Bout de soufflé. Dir. Jean Luc Godard. 1960. DVD. Criterion, 2007. Brenez, Nicole. “The Forms of the Question.” For Ever Godard. Eds. Michael Temple, James S. Williams, and Michael Witt. London: Black Dog, 2004. Brody, Richard. Everything Is Cinema: The Working Life of Jean-Luc Godard. New York: Metropolitan Books / Henry Holt & Co., 2008. Daney, Serge. “The Godard Paradox.” For Ever Godard. Eds. Michael Temple, James S. Williams, and Michael Witt. London: Black Dog, 2004. Gilliat, Penelope. “The Urgent Whisper.” Jean-Luc Godard Interviews. Ed. David Sterritt. Jackson: University Press of Mississippi, 1998. Godard, Jean-Luc. “Jean-Luc Godard: 'From Critic to Film-Maker': Godard in Interview (extracts). ('Entretien', Cahiers du Cinema 138, December 1962).” Cahiers du Cinéma: 1960-1968 New Wave, New Cinema, Reevaluating Hollywood. Ed. Jim Hillier. Cambridge, Mass.: Harvard University Press, 1986. Histoires du Cinema. Dir. and writ. Jean Luc Godard. 1988-98. DVD, Artificial Eye, 2008. Hori, Junji. “Godard’s Two Histiographies.” For Ever Godard. Eds. Michael Temple, James S. Williams, and Michael Witt. London: Black Dog, 2004. Le Grand Escroc. Dir. Jean Luc Godard. Perf. Jean Seberg. Film. Ulysse Productions, 1963. Le Mépris. Dir. Jean Luc Godard. Perf. Jack Palance, Fritz Lang. 1964. DVD. Criterion, 2002. La Passion de Jeanne d’Arc. Dir. Carl Theodor Dreyer. Film. Janus films, 1928. MacCabe, Colin. Godard: A Portrait of the Artist at 70. London: Bloomsbury, 2003. Masculin Féminin. Dir. and writ. Jean Luc Godard. Perf. Jean-Pierre Léaud. 1966. DVD. Criterion, 2005. Nuit et Brouillard. Dir Alain Resnais. Film. Janus Films, 1958. Perec, Georges. Things: A Story of the Sixties. Trans. David Bellos. London: Collins Harvill, 1990. (Originally published 1965.) Sontag, Susan. “Godard’s Vivre Sa Vie.” Against Interpretation and Other Essays. New York: Picador, 2001. Temple, Michael, James S. Williams, and Michael Witt, eds. For Ever Godard. London: Black Dog, 2004. Une Femme Mariée. Dir. and writ. Jean Luc Godard. Perf. Macha Meril. 1964. DVD. Eureka, 2009. Vivre Sa Vie. Dir. and writ. Jean Luc Godard. Perf. Anna Karina. 1962. DVD. Criterion, 2005. Week End, Dir. and writ. Jean Luc Godard. 1967. DVD. Distinction Series, 2005.