In this paper I argue that indigenous men in the Pacific engage in gender practices that historically have had widely different consequences for their positions of power or marginality. I focus my analysis on the production of modern Polynesian masculinities in Hawai'i and Aotearoa (New Zealand), highlighting the importance of the intersection of European and American colonialism(s) with indigenous forms of social organization. I look specifically at the participation of indigenous men in the military and sports, two of the most important sites for the production of masculinities where indigenous men contend with hegemonic ideologies of gender and culture. I end with some critical reflections on the possibilities and limitations of reviving traditional indigenous masculinities in decolonization movements in Hawai'i and Aotearoa.

This article draws upon the work of contemporary French feminist philosopher Luce Irigaray in developing a post‐structuralist analysis of travel within the autobiographies of the second wave feminist philosopher Simone de Beauvoir. Travel and the experience of wonder at the otherness of the world figure as important self shaping experiences within the four volumes of Beauvoir's life narrative (1958, 1960, 1963, 1972). Travel has a metonymic relation to the passage of Beauvoir's life, in which the existential extremes of anguish and ecstasy are played out in a (feminine) quest for self knowledge. Through a close reading of Beauvoir's writing I analyse the different formations of desire that structure the experience of wonder in relation to the otherness of the world and death. I also draw upon debates within feminist philosophy about the nature of subjectivity and knowledge that were, in Beauvoir's time, ordered around an Hegelian opposition between immanence and transcendence. I take up Irigaray's notion of the sensible transcendental to explore another way of conceptualising the feminine subject's desire to know and value the world differently.

This paper derives from an exploration of the ways in which the letters of Holocaust writer Etty Hillesum, which are seemingly resistant to many of the interests of current trauma theory, can be read in relation to contemporary writing on testimonial. In particular, the three theorists I shall discuss here, Derrida, Caruth and Irigaray, directly address Freud's Beyond the Pleasure Principle, a central text in the current refiguring of trauma. This paper traces the ways in which Hillesum's letters can be read across the theoretical accounts. An interpretation of Hillesum's writing emerges in which the conventional emphasis on the mystical aspect of her texts is reinterpreted in terms of Caruth's emphasis on the life drive. Viewed as forging a creative language of departure, Hillesum's letters are situated in a central relation to the most recent developments in the theoretical discourse around testimony.

This essay empasizes the dimensions of opticality in Freud's Beyond the Pleasure Principle and in Caruth's Parting Words. Thinking how to move from the ‘o‐o‐o‐o’ to the ‘a‐a‐a‐a’ central to the Fort/Da game, suggest that ‘u’ must be drawn into the creative act that inspires testimony, critical theory, psychoanalysis and love.

The desire to testify now pervades contemporary culture. The imperative to speak out and to tell one's story operates across the traditional boundaries of public and private spaces, and is mobilised by disenfranchised subjects and celebrities alike. These testimonial forms are evident both in popular culture, such as talk shows and confessional television more generally, and in mainstream politics, as demonstrated by the confessions of public figures, such as the late Princess Diana or President Clinton. Such imperatives have reshaped autobiography, confession and remembrance in the late twentieth and early twenty-first centuries, producing new testimonial forms, be they visual, artefactual, spoken, written or even bodily. These numerous testimonies bring with them new obligations of witnessing; readers, viewers, spectators, consumers are all required to become witnesses as they participate indifferent cultural forms. The demand to match the testimonial moment with the appropriate witness response may produce ambivalent and conflicted reactions: sympathy, terror, relief, recognition, empathy, anger, resentment, denial and disbelief. We have become witnesses to the testimonial projects of survivors of rape and child sexual abuse, cancer and AIDS, racist and homophobic attacks, war and torture, as well as to the atrocities of slavery, the Holocaust and apartheid. Thus, accounts of traumas of exceptional violence and of historical injustice proliferate alongside stories of everyday discrimination or misdemeanour.

This article examines how the ideology of white injury both conceals and sustains inequitable social relations in turn‐of‐the‐millenium California. Understanding the political and economic context of California in the early 1990s in relation to media, law, and culture helps explain why Californian citizens passed the unconstitutional initiative, Proposition 187, in 1994. Targeting undocumented Mexican immigrants, this ‘color‐blind’ Proposition functioned to conflate economic insecurities with racial anxieties. An analysis of culture, law, and media discloses how racial anxieties limit our understandings of exploitative capitalist relations, serving to artificially augment the white middle‐class ‘ wealth, opportunities, and power, while making vulnerable populations in the United States even more open to exploitation.

This article provides a critique of the postmodernist notion that there has been of recent years a dissolution of the divide between aesthetics and practical activities, between Art and Life. It does so by considering the game of soccer from a phenomenological viewpoint, which shows that the game possesses intrinsically ‘aesthetic’ qualities. The conditions of possibility of such qualities are understood by introducing the idea of the ‘proto‐aesthetics’ of soccer and other mundane phenomena. By considering the proto‐aesthetics of the quotidian we argue that recent changes in the nature of practical life should not be regarded as due to ‘aestheticisation’ but rather as springing from processes of commodification.

In the ways that they currently link images and bodies, online computer games are not just a new form of commodity. As toys, they also materialise a collective, historical temporality. Disjunctions in the timing and spacing of action in computer game play suggest a different kind of temporality might be involved in the formation of contemporary collectives. These games highlight the role of ‘realtime’ in the constitution of an experience of speed. Through Giorgio Agamben's notion of the whatever body, and a particular realtime game, this paper argues that computer games can help locate certain rhythms and times associated with globalised informatic collectives. The whatever body provides a way of negotiating the globalised yet inessential commonality of information, in terms of a temporality which wavers between a‐historical synchronisation and singular events.