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An important question that is often raised, whether directly or indirectly, in philosophical discussions of shame‐inducing behavior concerns whether the experience of shame has unique moral value. Despite the fact that shame is strongly associated with negative affective responses, many people have argued that the experience of being ashamed plays an important motivating role, rather than being an obstacle, in living a moral life. These discussions, however, tend to take for granted two interrelated assumptions that I will be problematizing: 1) that the subject's shame is warranted; 2) that the shame is directly attributable to the subject's own actions. I challenge these assumptions by turning to a phenomenon I call secondhand shame, namely, shame that is induced by another person's shameless behavior. This essay examines the gender and racial dynamics that so frequently intensify secondhand shame, and suggests that this troubling phenomenon, when shared as a group experience, can be morally transformative, particularly when it leads to unified public resistance to shameless conduct.

AbstractEven as research continues to explore mothering experiences and social psychologists consider the costs of guilt and shame, few empirical works have examined the relationships among mothering, guilt and shame. The idea that guilt and shame are necessary components of mothering is widespread. A few sources take seriously the emotions of guilt and shame nor has considerable thought been given to the social nature of guilt and shame. Rather than accept a purely psychological explanation of guilt and shame, I investigate the institutional and interactional dynamics that fuel women's drives to perform as 'the good mother'. In particular, I explore the 'good mothering' ideology that places mothers at risk of guilt and shame and then two social and institutional spaces where guilt and shame are likely to be prevalent.

At a time when some modicum of formal gender equality has been won in many late‐capitalist societies of the West, what explains the persistence of practices that extract labor and value from women and girls while granting a "surplus" of value to men and boys? Gendered shame is a central mechanism of the apparatus that secures the continued subordination of women across a number of class and race contexts in the mediatized, late‐capitalist West. Focusing on the story of Amanda Todd, two forms of shame are distinguished. "Ubiquitous shame" is that shame that accrues to feminine existence as such, and is structured in relation to a futural temporality of redemption. "Unbounded shame" is a brute form of value‐extraction that has found its ecological niche in social media—and destroys all futural aspirations.

Mit Sham kommt ein neuer Heilwesenhaftpflichtversicherer auf den deutschen Markt, der sich auch auf Prävention und Risikomanagement spezialisiert. Der Versicherungsverein auf Gegenseitigkeit versichert nach dem international etablierten Claims-Made-Prinzip. Dabei ist der Versicherungsfall die erstmalige Erhebung eines Schadenersatzanspruches durch einen Dritten während der Dauer des Versicherungsvertrages.

The Shame of Poverty challenges thinking about the nature and causes of poverty in both the Global North and Global South. It invites the reader to question their understanding of poverty by bringing into close relief the day-to-day experiences of low-income families across the globe.

This article juxtaposes two 2011 Hollywood films—Shame, directed by Steve McQueen, and Drive, directed by Nicolas Winding Refn—that in their mutations of narrative time and cinematic montage demonstrate the ongoing salience of Fredric Jameson's Marxist analysis of postmodern culture for the aesthetic and social form of contemporary Hollywood cinema. What Jameson in Postmodernism called the atemporal "waning of affect" is hyperbolically exposed in both films, which are linked by their formal emphasis on accumulation, repetition, and looping. This late capitalist regime of accumulation and excess takes the form of a cinematic drive that no longer hews to a narrative temporality but, rather, appears as exactly the hallucinatory intensity of an overwhelming present that Jameson described. For this reason, the films dispense with beginnings and endings; through modulations of filmic time, they return to the stasis of an eternal "posthistorical" present. Drive and Shame both end with montage sequences in which flashbacks and flash-forwards are rendered indistinguishable. Exploring this emphasis on sameness and repetition, the article takes up the psychoanalytic notion of the drive in relation to Jameson's argument about the waning of affect.

This text highlights the importance of managing the passions, affections and emotions in neoliberal Fear politics. Thanks to the thinking of Sara Ahmed who analyses how today the workings of emotions are economic, talking about "affective economies." The production model of the emotions of Ahmed puts forward a critique of the privatisation and the psychologising of emotions, given that emotions are performative in their circulation. Returning to the idea of affect of shame as a transformational performance of Eve Kosofky Sedgwick, the text also explores the performative potential that can be deployed in a process of collectivisation of shame against the neoliberal politics of fear and hate whether that be in the context of activism, contemporary art or the production of images.