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Facebook has become a phenomenon – used by millions all over the world. Supposedly its purpose is to enable us to keep in touch with our friends, although for some there is a competitive element in collecting as many friends as possible. It is however difficult to believe that anyone has 900 genuine friends! So it is time to question the purpose of Facebook and the socially responsible purpose that it may or may not be fulfilling.

A consideration of what is written by many people in their Facebook accounts shows that entries are often like personal musings. So we say things for ourselves – to express our feeling in mottos and references to songs, etc.

It seems that we are like Schrodingers cat and that we do not exist unless we are observed. So we put ourselves on Facebook to simulate existence. Thus, Facebook seems to have become a Baudrillardian simulacrum – more real than the real.

According to Jacques Lacan, the world is a mirror on which we express ourselves to ourselves. We use the Lacanian perspective to argue that social media has become the new mirror – easier and less threatening as we do not need interaction, only approval through the like function. This is arguably less challenging – to have a virtual life instead of a real one.

This is problematic, according to Lacanian theory but is a comment on modern society and the problem being caused. The relationship to social responsibility is explained in this chapter.

In this chapter, the author considers how Melbourne’s grindcore metal scene produces itself as coherent, authentic and masculine through the discursive positioning of Sydney’s scene as lacking, inauthentic and feminine and/or homosexual. The way Melbourne scene-members talk about Sydney in ethnographic interviews and online, indicates how Melbourne’s grindcore scene identity rests on a particular striving towards – and fantasy of – a bounded, comprehensible masculine identity anchored in Symbolic/linguistic signifiers of homophobia. Building on my previous research on Melbourne’s scene, the author utilises a Lacanian perspective to argue that the masculinist talk of Melbournians works as a response to the affective experience of enjoying grindcore music. Here, the author departs from my earlier work, where the author used Deleuzian/Massumian understandings of affect to suggest that affect works to construct community belonging in grindcore scenes (2014). Instead, the author uses Lacan’s approach to affect to suggest that Melbourne grindcore fans construct their identity via furiously producing a fantasy of Sydney fans as ‘Other’. They Symbolically construct Sydney as a ‘cultural wasteland’ populated by ‘poofter[s]’ (Melbourne Grind Syndicate, 2016) who are imagined, and positioned as, inauthentic due to their affective enthusiasm for grindcore. Here, affect works to exclude and Other grindcore fans rather than as a force for collectivity.

Unfortunately, I am not the first to attempt to map out the narrative terrain of Others. In 1985, R. S. Perinbanayagam presented various social theorists’ conceptions of the Other in his book Signifying Acts: Structure and Meaning in Everyday Life. Basically, they comprise three Others: the Generalized Other, the Meiotic Other (my language), and the Significant Other. I will address three additional Others – the Unconscious Other, the Marginalized Other, and the Nonhuman Other – that I find in a broader and more recent literature. Although I group them into six main Others, the borders of these types are somewhat arbitrary, porous, and nondiscrete, as interaction and intersection exist among them. Two characteristics that distinguish one Other from another are whether the Other exists within or outside the Self and whether the Other is an individual or aggregate entity. The Unconscious Other and the Generalized Other both are constructed from symbolic material outside the individual but ultimately take up residence within the Self. The Meiotic Self is the self-divided; there may be multiple divisions but each Meiotic Self is usually presented as singly constituted. The Significant Other, an individual, and the Marginalized Other, often a status group or member of it, reside outside the Self but play supporting roles in relation to any particular Self, which may also be an individual or status group, such as men, Whites, and Americans. The Nonhuman Other may be individual, an aggregate of individuals, or the product of human behavior, all of which reside outside the Self.

This article seeks to recover and uncover the non-utilitarian excess (jouissance) in crime and punishment since Kant. Jouissance is sharply contrasted with Nietzsche’s account of ressentiment. The latter is analyzed as the predominant sensation of our penal system which until today structures the subjects and institutions of punishment from within. Jouissance, on the other hand, is obscured in philosophies of punishment that attempt to account for the will to punish but ultimately fail to cover over the excess that constitutes penal theories and practices. Whether it is visible in Kant’s punitive fervor, in the exploration of perversion in de Sade and E. A. Poe, in theories of deterrence and prevention or punitive convictions in our contemporary legal culture, Freud’s discovery of a realm beyond the pleasures principle remains crucial for the understanding of the motives for crime and punishment. The essay concludes with a discussion of Nietzsche and his exploration of the ramifications of recognizing the role of new affects in crime and punishment.

Žižek has become both one of the dominant voices in current leftist cultural, social, and political critique and one of the most maligned. His work can be obscure, difficult to understand, and at times hyperbolic. Of particular difficulty is the attempt to discern a “positive” project in his work, as it seems that he is very good at offering us a sustained discussion of the difficulties of finding an oppositional stance to what he describes as our “current situation.” In fact, he is so good at this, that if we take him seriously it becomes hard to see a way out. Despite such appearances, Žižek's work offers us a radical insight into the twin processes of the creation of the social and the creation of the subject (and their mutual interdependence) as well as a novel conception of the possibility of resistance and social change based on this process. Furthermore, we can best make sense of this theory of resistance as founded in what Žižek identifies as the “negative” moment. This moment brings with it the possibility of something which is not determined by the existing power structure, thus it brings with it the possibility of a universalist stance that is unconditioned by our “current situation.” It is not then, as some have argued, that Žižek's privileging of the negative moment leads to a theory of social change that cannot sustain a positive project, nor is it the case that Žižek's theory of the negative serves as the first move upon which a positive project can be built. Žižek's radical insight is that the negative moment can itself be a positive phenomenon. The proper negative act then is one which lays the foundation for social change by creating a radical form of subjectivity that serves as the basis for such change. In trying to explicate Žižek's claims, what he is suggesting can be best understood by reference to Žižek's Lacanian reading of Hegel's theory of subjective freedom: freedom arising in the necessity that first defines (and confines) the subject.

This essay is not a typical essay that follows the norms of academic discourse which have become standardized by the bureaucratization of the academy and academic publishers in the name of neoliberal economic policies. The abstract is a function of that bureaucratization. It provides a summary taste of what follows so that the reader can make a quick judgment as to whether the words contained therein are worthy of their time. The typical scholarly article gets few readers beyond the author, editor, and reviewers. If and when the abstract succeeds in making a reader turn to the pages, all too often today, this means only reading the introduction and conclusion, with a cursory scanning of the intermediate pages for “data.” Theory resists this informationalization. Rather, theory must reside within the realm of knowledge; and knowledge takes time and effort. It forces the reader to make a choice, to use their agency to decide to spend their time on this mental task and to decide what to do with the knowledge they gain. Planetary sociology contends that working toward knowing our self and society, their interconnections and coconstructions, is a necessary precondition for confronting the global endgame on our horizon. Critical socioanalysis provides a model for how to engage in this practice. In the following pages I offer my own life as a brief example of the process while demonstrating the role that theory must play. It cannot be summarized in an abstract. It must be read and digested. It must be the subject of thought, the cause of our engaging in thinking. Theory makes demands of its readers, and it forces us to choose. You cannot be a passive reader of theory. This abstract provides the first chance for the reader to act as an agent, to reject theory's demands or to keep seeking and discover for one's self if it is worth the effort.

The classification of psychological suffering stumbles on the challenge of quantifying the ‘un-quantifiable’ upon the systematic categorising and description of affective and mental states and their transformation into illnesses and disorders. In this chapter, the author will explore the affect of anxiety through a critical recent history of its diagnosis and treatment in the context of psychological care. By unpacking the strategies employed by mainstream psychiatry in the Diagnostic and Statistical Manual of Mental Disorders (DSM), published by the American Psychiatric Association since the mid-twentieth century, it is possible to unveil the dynamics of a reduction of the subject to a productive-biological body in the last decades. This chapter thinks through what happens to the equation ‘body-world’ through the critical genealogy of affect and its relation to diagnoses and treatments of anxiety and depression. It grapples with the ethics of techno-scientific global financial capitalism – heralded by pharmacological corporations and governmentality – which replicates a modern scientific view of the body, affect and suffering in a world of renewed paradigmatic demands. The author argues that by consistently pathologizing and working towards the elimination of anxiety, the hegemonic clinic erases the possibility of such ‘subjective truth’, reducing the subject to the status of ‘dividual’.

The portrayal of female superheroes is not a new phenomenon. To this day Lynda Carter's portrayal of Wonder Woman (1975–1979) is venerated (Hanley, 2014) as one of the first portrayals of a ‘super’ female character swathed in popularity and renowned in comic book lore. More recently, several superhero narratives, with women at the helm, have been adapted for the series format including Supergirl, Batwoman and Jessica Jones.

However, until the introduction of Wonder Woman (Jenkins, 2017), film narratives with a female superhero at the centre have been non-existent. In 2019, Captain Marvel was released as part of the Marvel cinematic universe (MCU). Due to its connection to the MCU and the successful Avengers film franchise, the character Captain Marvel, played by Brie Larson, has a built-in familiarity with audiences.

From its first introduction, it is evident that there is a definitive feminist slant to the character and the narrative of Captain Marvel. Therefore, this chapter analyses the comment threads of three fan-made YouTube videos on Captain Marvel. These videos specifically address the feminist overtone as depicted. Specifically, the chapter considers fan reactions to the representation of feminism. The data are analysed through discourse analysis under the guise of Jacques Lacan's mirror theory and Henry Jenkins's participatory culture. Jenkins further notes the connection between, amongst other aspects, the interpretation and the meaningful participation (2015, p. 2) in the specific fandom. The concept of ‘suspension of disbelief’ will also be used as part of the analysis, as well as Henry Jenkins' participatory culture.

It is generally considered that the old myths were a way of explaining the origins of the world and of humanity. They also played a vital role in uniting a society. Indeed the idea of the epic story is one which permeates history to such an extent that it can be considered to be omnipresent.

It is argued that this cohesive role remains crucial today and so myths remain relevant to us today. The design of the chapter is to show this relevance in business behaviour. This is explored through a consideration of corporate reporting.

It is demonstrated that these myths continue to be reinvented in modern form. For individuals these myths provide a source of strength and a sense of roots and values; they offer a mirror to reveal the source of our anxieties and the means by which they might be resolved.

In this chapter therefore the modern myths of the hero are explored in the context of managerial behaviour in organisations. In order to explore this there is a need first to consider the psychoanalysis of managerial behaviour before considering the mythic dimension of such reporting.

This paper demonstrates that organisational stories have a vitally important role in organisational cohesion and development.

The psychoanalytic approach provides an understanding which is not available through other methodologies.

New circus explores a wide range of contemporary global and existential questions. From the dystopian performances of pioneering French new circus Archaos, and the ongoing social justice agenda of Circus Oz, to the themes of social decay and environmental degradation in Oozing Future’s 2019 production Autocannibal, new circus has sought innovative ways to challenge and confront audiences mediated by the human body. With a focus on emotive narrative representations of risk and death, this qualitative research examines the interaction of embodied movement and music in Zebastian Hunter’s Lacanian-inspired Empty Bodies and the author’s development of a circus opera, The Blood Vote. The immediate and embodied artforms of music and circus combine to engender a non-literal, yet powerful, form of speech surrogacy that communicates meaning and emotion, so we are reminded that anything is possible, not least of which is the illusion of the victory of life over death that circus performance itself embodies. Death is ever present in life, a fact we try to repress; circus confronts the audience with the undoing of this repression: we are going to die. This is what captivates us. In this way, contemporary new circus functions as an important signifier of meaning in contemporary performing arts.