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Saul Newman

the danger that the collective assemblages and ‘becoming-minorities’ – which they see as new political figures of resistance and deterritorialisation – can themselves turn fascist: the problem of [ 81 ] Unstable universalities ‘micro-fascisms’.27 However, it is difficult to understand this deformation of desire into fascism and the emergence of ‘micro-fascisms’ without some understanding of the psyche and the field of drives and ‘passionate attachments’. As Freud recognised, the emergence of the group as a distinct political formation – whether it be the mob or

in Unstable universalities
Saul Newman

Manifesto, he talked about the way that capitalism itself leads to the sweeping away of ‘all fixed, fast frozen relations’.3 Postmodernism and global capitalism, it would seem, have a similarly deterritorialising effect. However, as Deleuze and Guattari pointed out, for every deterritorialisation there is also a reterritorialisation. In other words, while capitalism releases flows of flux and becoming, it also ‘codes’ these back into its own structures and into those of the state. I have also highlighted a similar tendency in postmodernity itself: while it leads to the

in Unstable universalities
Critical reflections
Ali Rattansi

automatically mean any diminishing of the powers of sovereign nation-states (Jessop 2016: 198), because globalisation is a complex and contradictory set of processes in which there is no homogeneous de-territorialisation. ‘Globalisation’, Hirst, Thompson and Bromley conclude, has become a hugely inflated term, and those like Bauman who see it as an accomplished fact need to step back and take a more nuanced and complex view. In particular, they, like Gamble, Weiss, Castles (2007), Jessop, and Held (see especially Held 2004), are dismayed by the prophets of gloom who, in

in Bauman and contemporary sociology
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‘Northern Irish art’ in the wider world
Declan Long

, as part of ‘the production of locality’ that, as Hardt and Negri argue, arises out of the forces of globalisation: ‘The globalisation or deterritorialisation operated by the imperial machine is not in fact opposed to localisation or reterritorialisation, but rather sets in play mobile and modulating circuits of differentiation and identification.’45 The meaning and value of such ‘regional’ or ‘local’ representations in the context of broader economic and cultural networks is a subject we will return to, but it is useful to note at this stage that though the new

in Ghost-haunted land
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Fortunato Depero in ‘dynamoland’
Katia Pizzi

115 immediately marked by de-territorialisation, engulfed in construction fever and ruled by the iron fist of ruthlessly utilitarian forces. At once, it was an exhilarating and psychedelic space lit up by aggressive, ­multi-coloured posters and billboards, always switched on, galvanised by an ‘effervescence’ of electric bulbs and vivid lettering flashing, smearing and drenching the environment with colour and light from all sides.94 Manhattan appeared to be squashed between the vertical walls of skyscrapers and metallic perspectives of bridges and overground trains

in Italian futurism and the machine
Fergus Daly and Garin Dowd

utter more than a few stuttering words on his television appearance. In Les Amants , the appearance of the poster featuring Michèle puts an end to the fluid phase of her relationship with Alex, who responds characteristically by tipping over too far into deterritorialisation in a display of abject nihilism, setting fire to the bill poster. There, as in Pola X, naming and celebrity are on the side of thanatos. For the Cahiers

in Leos Carax
Maintenant, November 1913–April 1915
Dafydd W. Jones

production of texts by Cravan, but production for its own continued process, referring to no fixed, complete or unified state. Without subjectivity or an organising centre, a machine is entirely the result of its connections and productions.120 One of the (many) important currents in Deleuze’s ‘Life has no solution’ 171 work, alone and with Guattari, is the idea of deterritorialisation that concerns itself actively with the release of the speaker and of language to course lines of flight beyond previously discerned limits. The machine that Deleuze deliberates is in a

in The fictions of Arthur Cravan
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Everyone must die
Andrew Ginger

lay broken by dissimilarity’ (el lazo de la fraternidad estuvo roto por la desemejanza) (1863: 57). Remedying this involves a destructive encounter with candidates for universality, envisaged either as an emptying out – a deterritorialising – or as an allegory of shared loss brought about in the violent interaction both of located European cultures and of that very force of deterritorialisation. While each of these passes through a living death, each evoking its own destructions, neither proves adequate to the task of restoring true similarity. This is at once a

in Instead of modernity
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John Kinsella

‘native’ – brings experience gathered elsewhere (in new homes, new places of belonging) to the originating ‘homeplace’. As Tracy mentioned regarding this dynamic/issue here in West Cork, 1 I envisage a departure from both the ‘Nomadic waves or flows of deterritorialisation go from the central layer to the periphery, then from the new centre to the new periphery, falling back to the old centre and launching forth to the new…’ of Deleuze and Guattari (Gilles Deleuze and Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia [Minneapolis, University of

in Polysituatedness