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The search for a place vision after the ‘troubles’
William J. V. Neill and Geraint Ellis

starting point here is the realisation that the establishment of Northern Ireland by the Government of Ireland Act in 1920 was a process of re/deterritorialisation of the UK state which satisfied neither unionists nor nationalists. Unionists saw the creation of a Northern Ireland parliament as a partially successful challenge to an ascendant cultural Irish nationalism from which they felt alienated.1 For nationalists, the very existence of Northern Ireland was seen as an artificial remnant of an incomplete process of decolonisation, marking the tail end of centuries of

in Northern Ireland after the troubles
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A queer and cartographic exploration of the Palestinian diaspora in Randa Jarrar’s A Map of Home (2008) and Him, Me, Muhammad Ali (2016)
Alberto Fernández Carbajal

-induced deterritorialisation, while examining the articulation of bodies as maps and as the physical and textual repositories of colonial and patriarchal violence. Here, bodies are also explored as cyphers disorientating national and diasporic Arab and Islamicate gender and sexual expectations. A Map of Home ’s first-person viewpoint conveys a sense of urgency about the self-validation of queer bodies in both literal and symbolic ways. In order to understand the multiple connections between Jarrar’s diasporic experiences and her fiction, it is necessary to have a

in Queer Muslim diasporas in contemporary literature and film
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The topos of/for a post-politics of images?
Anne-Laure Amilhat Szary

visible (and, paradoxically, the most aesthetic) ones, namely the new walls. But this approach is also valid for the other types of borders, those that are opening up, and for which artistic intervention is often a way of transforming artefacts of passage and control into cultural heritage. Therefore, the link between art and politics can be analysed within the framework of the ‘hyper-territorialisation’ of contemporary borders; in a world marked by incessant processes of deterritorialisation and reterritorialisation suggesting a lability of landscapes, we paradoxically

in Border images, border narratives
Open Access (free)
Louise Amoore

, universalisation, westernisation or deterritorialisation. It is argued that the first four perspectives cannot adequately capture the nature of contemporary globalisation because they reduce it to pre-existing processes. Scholte favours ‘deterritorialisation’ as an account of globalisation that emphasises ‘far-reaching change in the nature of social space’ (2000: 46). His rejection of the first four perspectives reinforces his own Amoore_Global__01_Intro 3 6/19/02, 12:03 PM Globalisation contested 4 perspective on globalisation as the transformation of social relations and

in Globalisation contested
The short films (2010–11)
Deborah Martin

which oppose human and animal, and suggest liberatory bodily relations and practices beyond the human. As Deleuze and Guattari write, becoming-animal ‘under­ mines the great molar powers of family, career and conjugality’, it is ‘an irresistible deterritorialisation that forestalls attempts at profes­ sional, conjugal or Oedipal reterritorialisation’ (2004, 257). It is, as in Pescados, a movement from the individual to the multiple: it ‘always 116 The cinema of Lucrecia Martel involves […] a multiplicity’ or ‘modes of expansion, propagation, occupation, contagion

in The cinema of Lucrecia Martel
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Pascale Drouet

makes a last effort, imploring, ‘Banish us both, and send the King with me’ (83), ‘Then whither he goes, thither let me go’ (85). There is no deterritorialisation whatsoever as long as she stays with him. The same idea is to be found in King Lear : what matters to Lear, whether in prison or elsewhere, is to remain with Cordelia. Once the war is lost, Cordelia turns to her father and affirms, ‘For thee

in Shakespeare and the denial of territory
Pascale Drouet

deterritorialisation does not have the same end in King Richard II and Coriolanus . Bolingbroke is not interested in ‘smooth spaces’ per se . These have only a transitional strategic function; ironically, they pave the way for the new ‘striated space’ he wants to reign over (King Henry IV’s England). As for Coriolanus, he feels at home on battlefields, not in the Capitol; he has no taste for the ‘striated space

in Shakespeare and the denial of territory
Pascale Drouet

-down with a Forum that would be more powerful than the Capitol, and to exclude the patricians from the city – an exclusion that is implicit in Sicinius’ rhetorical question: ‘What is the city but the people?’ (3.1.200). The threat of patrician deterritorialisation is heard in Coriolanus’ criticism of the tribunes’ growing power: ‘That is the way to lay the city flat, / To bring the roof to the foundation

in Shakespeare and the denial of territory
the cases of Lucrecia Martel and Isabel Coixet
Paul Julian Smith

following: How might auteurism continue to adapt itself to the processes of ‘globalisation’, namely the apparent ‘deterritorialisation’ of some forms of cultural production and the elaboration of new transnational systems of distribution with the accompanying fragmentation of mass markets and the targeting of particular audiences

in Hispanic and Lusophone women filmmakers
Renegotiating Chilean identity in Alicia Scherson’s Play (2005)
Sarah Wright

‘people of the earth’), the Mapuche have suffered deterritorialisations from successive governments. Constituting around 5 to 10 per cent of Chileans, from 1881 to 1920 the Mapuche were gradually relegated to just 3,000 ‘reductions’: 6.4 per cent of their original territory (Park and Richards, 2007 : 1321). The Pinochet regime practised a form of ethnic cleansing by privatising indigenous lands. Dissenters were tortured or

in Hispanic and Lusophone women filmmakers