Surveillance, reason and desire in the plays of Howard Barker
R&G 08_Tonra 01 11/10/2013 16:16 Page 82
Places of punishment:
surveillance, reason and desire in the
plays of Howard Barker
We required MichelFoucault to elaborate what most Europeans have always
suspected about dark places and speaking: that confession comes easiest in the dark,
and that it is vastly more sexually stimulating to tell than to keep silent.
The relationship between rationalisation and the excesses of political power is
evident. And we should not need to wait for bureaucracy or concentration camps to
J. Dudley Andrew, Concepts in Film Theory
(Oxford, Oxford University Press, 1984 ), p. 115.
Claire Johnston, ‘Women’s cinema as
counter-cinema’, in Nichols (ed.), Movies and Methods Volume
I, p. 211.
MichelFoucault, ‘Critical theory
Reconstructing modernity assesses the character of approaches to rebuilding British cities during the decades after the Second World War. It explores the strategies of spatial governance that sought to restructure society and looks at the cast of characters who shaped these processes. It challenges traditional views of urban modernism as moderate and humanist, shedding new light on the importance of the immediate post-war for the trajectory of urban renewal in the twentieth century. The book shows how local corporations and town planners in Manchester and Hull attempted to create order and functionality through the remaking of their decrepit Victorian cities. It looks at the motivations of national and local governments in the post-war rebuilding process and explores why and how they attempted the schemes they did. What emerges is a picture of local corporations, planners and city engineers as radical reshapers of the urban environment, not through the production of grand examples of architectural modernism, but in mundane attempts to zone cities, produce greener housing estates, control advertising or regulate air quality. Their ambition to control and shape the space of their cities was an attempt to produce urban environments that might be both more orderly and functional, but also held the potential to shape society.
to take everything he says seriously. 12
With faint echoes of the difficulty MichelFoucault initially posed to disciplinary categorisation decades ago, he does not sit comfortably as either philosopher or art historian. Instead, he borrows ideas from philosophy to renew art history. Didi-Huberman does not identify with a specific epoch or medium, instead adopting a transhistorical and transdisciplinary approach to his investigation of images.
Supplementing this, Didi-Huberman suffers from an ‘image problem’ of being associated with French ‘theory’ and is
The church as sacred space places the reader at the heart of medieval
religious life, standing inside the church with the medieval laity in order to
ask what the church meant to them and why. It examines the church as a building,
idea, and community, and explores the ways in which the sanctity of the church
was crucial to its place at the centre of lay devotion and parish life. At a
time when the parish church was facing competition for lay attention, and
dissenting movements such as Lollardy were challenging the relevance of the
material church, the book examines what was at stake in discussions of sanctity
and its manifestations. Exploring a range of Middle English literature alongside
liturgy, architecture, and material culture, the book explores the ways in which
the sanctity of the church was constructed and maintained for the edification of
the laity. Drawing on a wide range of contemporary theoretical approaches, the
book offers a reading of the church as continually produced and negotiated by
the rituals, performances, and practices of its lay communities, who were
constantly being asked to attend to its material form, visual decorations, and
significance. The meaning of the church was a dominant question in late-medieval
religious culture and this book provides an invaluable context for students and
academics working on lay religious experience and canonical Middle English
The archive has assumed a new significance in the history of sex, and this book visits a series of such archives, including the Kinsey Institute’s erotic art; gay masturbatory journals in the New York Public Library; the private archive of an amateur pornographer; and one man’s lifetime photographic dossier on Baltimore hustlers. The subject topics covered are wide-ranging: the art history of homoeroticism; casual sex before hooking-up; transgender; New York queer sex; masturbation; pornography; sex in the city. The duality indicated by the book’s title reflects its themes. It is an experiment in writing an American sexual history that refuses the confines of identity sexuality studies, spanning the spectrum of queer, trans, and the allegedly ‘normal’. What unites this project is a fascination with sex at the margins, refusing the classificatory frameworks of heterosexuality and homosexuality, and demonstrating gender and sexual indecision and flexibility. And the book is also an exploration of the role of the archive in such histories. The sex discussed is located both in the margins of the archives, what has been termed the counterarchive, but also, importantly, in the pockets of recorded desire located in the most traditional and respectable repositories. The sexual histories in this book are those where pornography and sexual research are indistinguishable; where personal obsession becomes tomorrow’s archive. The market is potentially extensive: those interested in American studies, sexuality studies, contemporary history, the history of sex, psychology, anthropology, sociology, gender studies, queer studies, trans studies, pornography studies, visual studies, museum studies, and media studies.
Explaining how leprosy was considered in various historical settings by referring to categories of uncleanliness in antiquity, is problematic. The book historicizes how leprosy has been framed and addressed. It investigates the history of leprosy in Suriname, a plantation society where the vast majority of the population consisted of imported slaves from Africa. The relationship between the modern stigmatization and exclusion of people affected with leprosy, and the political tensions and racial fears originating in colonial slave society, exerting their influence until after the decolonization up to the present day. The book explores leprosy management on the black side of the medical market in the age of slavery as contrasted with the white side. The difference in perspectives on leprosy between African slaves and European masters contributed to the development of the 'Great Confinement' policies, and leprosy sufferers were sent to the Batavia leprosy asylum. Dutch debates about leprosy took place when the threat of a 'return' of leprosy to the Netherlands appeared to materialise. A symbiotic alliance for leprosy care that had formed between the colonial state and the Catholics earlier in the nineteenth century was renegotiated within the transforming landscape of Surinamese society to incorporate Protestants as well. By 1935, Dutch colonial medicine had dammed the growing danger of leprosy by using the modern policies of detection and treatment. Dutch doctors and public health officials tried to come to grips with the Afro-Surinamese belief in treef and its influence on the execution of public health policies.
Responding to the resurgence of verbatim theatre that emerged in Britain, Australia, the United States and other parts of the world in the early 1990s, this book offers one of the first sustained, critical engagements with contemporary verbatim, documentary and testimonial dramaturgies. Offering a new reading of the history of the documentary and verbatim theatre form, the book relocates verbatim and testimonial theatre away from discourses of the real and representations of reality and instead argues that these dramaturgical approaches are better understood as engagements with forms of truth-telling and witnessing. Examining a range of verbatim and testimonial plays from different parts of the world, the book develops new ways of understanding the performance of testimony and considers how dramaturgical theatre can bear witness to real events and individual and communal injustice through the re-enactment of personal testimony. Through its interrogation of different dramaturgical engagements with acts of witnessing, the book identifies certain forms of testimonial theatre that move beyond psychoanalytical accounts of trauma and reimagine testimony and witnessing as part of a decolonised project that looks beyond event-based trauma, addressing instead the experience of suffering wrought by racism and other forms of social injustice.
This book explores contemporary urban experiences connected to practices of sharing and collaboration. Part of a growing discussion on the cultural meaning and the politics of urban commons, it uses examples from Europe and Latin America to support the view that a world of mutual support and urban solidarity is emerging today in, against, and beyond existing societies of inequality. In such a world, people experience the potentialities of emancipation activated by concrete forms of space commoning. By focusing on concrete collective experiences of urban space appropriation and participatory design experiments this book traces differing, but potentially compatible, trajectories through which common space (or space-as-commons) becomes an important factor in social change. In the everydayness of self-organized neighborhoods, in the struggles for justice in occupied public spaces, in the emergence of “territories in resistance,” and in dissident artistic practices of collaborative creation, collective inventiveness produces fragments of an emancipated society.
(Post-)structuralism between France and the United States
this narrative, it quickly runs into
difficulties. Several figures are hard to place. Are Jacques Lacan and Louis Althusser
structuralists or post-structuralists? It is generally assumed that we can distinguish
between an early and late MichelFoucault. But in a 1983 interview that is well beyond his
putative break with structuralism, Foucault rejected ‘post-structuralist’ as a
description of his work. 1 Even the
archetypal post-structuralist, Jacques Derrida, refused the label. 2
To a certain extent