Download James Bond and Philosophy: Questions Are Forever (Popular by James B. South, Jacob M. Held PDF

By James B. South, Jacob M. Held

James Bond and Philosophy: Questions Are Forever

“Bond. James Bond.” when you consider that Sean Connery first uttered that iconic word in Dr. No, a couple of area of the world’s inhabitants has visible a 007 movie. Witty and urbane, Bond seduces and kills with equivalent ease — usually, it sort of feels, with equivalent enthusiasm. This enthusiasm, coupled along with his freedom to do what's forbidden to every person else, inspires attention-grabbing philosophical questions. right here, 15 witty, thought-provoking essays speak about hidden concerns in Bond’s international, from his carnal pleasures to his license to kill. one of the full of life issues explored are Bond’s relation to existentialism, together with his commencement “beyond strong and evil”; his objectification of girls; the ambiguity of breaking the legislations with a view to finally uphold it like every “stupid policeman”; the character of 007 by way of Plato’s ethical psychology; and the Hegelian quest for reputation evinced via Bond villains. A reference advisor to the entire Bond videos rounds out the book’s many pleasures.

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The excuse, that she’s concentrating on keeping him alive, puts her in direct competition for the Terminator’s role, and body . . And while she is focusing on being a super-soldier, the Terminator is working on being a better mom, listening to and playing with the son that Sarah hardly notices for all the weapons she’s carrying. (Jeffords 1993: 249–50) That the cyborg Schwarzenegger can be read as the more feminine role is an indication of how overdetermined our cultural notions of appropriate gender behavior are.

Yet the argument advanced by some critics that these characters are simply “men in drag” undermines the revelatory possibilities of women assuming these roles. If a female character seen as kicking ass must be read as masculine, then women are systematically denied as a gender capable of behaving in any way other than passive. La Femme Nikita and Point of No Return take women in action movies a step beyond by not assuming a masculine identity in kicking ass, but by remaining garbed in obvious signifiers of femininity.

Her most fundamental example of gender parody can be found in drag: “In imitating gender, drag implicitly reveals the imitative structure of gender itself—as well as its contingency” (137). Butler’s theory of gender subversion sees drag as laying bare the artificiality of established conventions. As an obvious performance of gender not “naturally” linked to a biological “truth” of the performer, drag subverts and destabilizes gender essentialism from within the system. Rather than falling under the illusion of opting out of gender categories, drag makes do with the tools at hand.

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