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Introduction
Carl Lavery

subverting the epistemic violence of logocentricism (Oswald, 1989 ; Derrida, 1990 , 2004 ; Bougon, 1993 , 1997 , 1998 ; Bougon and Rabaté, 1995 ; Finburgh, 2004 ); and practising a nomadic process of deterritorialisation (Guattari, 1989 ; Durham, 1995 , 1997 , 1998 ; Hardt, 1997 ; Gourgouris, 1998 ; Hardt and Negri, 2001 ; Clark, 2008 ). While the readings referred to above have certainly done much to highlight the sophistication of Genet’s political vision, a shiftin emphasis is required if we are to engage, profitability, with the new line of enquiry

in The politics of Jean Genet’s late theatre
Pascale Drouet

To better understand the dynamic of deterritorialisation, it is necessary to turn backwards and look for the origins of discord, for the source of what David Scott Kastan calls ‘the turbulence of history’, which he presents as follows: In play after play we are forced to experience the turbulence of history. We are confronted not with order

in Shakespeare and the denial of territory
Theorising the en-gendered nation
Elleke Boehmer

BOEHMER Makeup 3/22/05 2:55 PM Page 22 John's G5:Users:john:Public:John's Mac: John's Jobs 1 Motherlands, mothers and nationalist sons: theorising the en-gendered nation Woman is an infinite, untrodden territory of desire which at every stage of historical deterritorialisation, men in search of material for utopias have inundated with their desires. (Klaus Theweleit, Male Fantasies)1 Among postcolonial and feminist critics it is now widely accepted that the nationalist ideologies which informed, in particular, the first wave of independence movements and of

in Stories of women
Lee Spinks

creative intensity leads only to incoherence and blank passivity. Bolden’s rejection of subjective coherence may expose him to the pure event of becoming, but it also renders him completely vulnerable to the disciplinary violence of institutional forces. Ondaatje’s unhappy sense that the absolute deterritorialisation of subjectivity merely anticipates its violent reterritorialisation at another level resonates throughout the novel’s final pages. It finds its sharpest expression in the stylistic interplay between intensity and narration : Bolden’s beatific insistence

in Michael Ondaatje
Politics and aesthetics
Carl Lavery

regardless of their place of birth. In order to tap the revolutionary potential inherent in democracy’s ‘homelessness’, Genet affirms, like Deleuze and Guattari, a deterritorialised geography that erases all ideas of naturalness and propriety. At this point in Genet’s thought, spatial deterritorialisation and poetic invention fuse to become part of the same process. Both are committed to dislocating and reconfiguring space endlessly. Challenged by this infinite rewriting of space, colonialism’s desire to distribute fixed roles and to attribute proper places is rendered

in The politics of Jean Genet’s late theatre
Tim Woods

1998 ). Memory work is examined at every turn, as representations of loss, insecurity, displacement and deterritorialisation occur in African literature. Much memory-work is future-oriented, as people struggle to keep traces of the past and the present alive for the sake of the future. In this way, memory can become a way of countering political nostalgia fostered by neo-colonial African governments

in African pasts
Dafydd W. Jones

decomposes and defeats the superior by making the latter reactive, is restated in the process of minorisation by which (in the Kafka instance) a major language is subjected to an alienation (or ‘deterritorialisation’) before it is reinvigorated (or ‘reterritorialised’) by a minor language, and the language of the vanquished finds itself in a paradoxical position of dominance over the language of the victor. This is yet further complicated for Deleuze, however, by the irresistible hegemonic drive of the superior in its ‘extraordinary capacity for being twisted and shattered

in The fictions of Arthur Cravan
Lee Spinks

’s body glancing out’). In perceiving the furious and unthinking energy of rat life, Billy suddenly experiences a becoming-rat; in so doing, he momentarily becomes one with the differential force through which all life emerges. 15 Because Billy may no longer be imagined simply as ‘human’, Ondaatje once again deterritorialises poetic language, opening his medium up to the flow of intensities that precede and exceed its structures. This phase of deterritorialisation is disclosed in the poem’s fluid transposition of pronouns, its reversion from a world of sense into the

in Michael Ondaatje
Simon Malpas and Andrew Taylor

dangers that television might pose to such an autonomously constituted national imaginary become apparent in later, more explicitly postmodern writing (such as Pynchon’s or Don DeLillo’s or Robert Coover’s), in which the technology of television is internalised as part of a narrative cognisant of its global circuits ‘whose perimeters can never again be entirely self-regulating’.27 Vineland participates in this expansion of popular culture, in the deterritorialisation of media images via a globalised economy of brand names, advertisements, and satellite channels – a ‘24

in Thomas Pynchon
Simon Malpas and Andrew Taylor

can never use’ (MD 487–8). Temporal and spatial subjunctives Paul Giles points to surrealism as a key influence on Pynchon’s work, a desire ‘to explore the idea of heterogeneity and dispersal’ as aesthetic strategies for refusing the conformist patterns of an organised and policed ‘reality’.34 Such a strategy of deterritorialisation, following Deleuze and Guattari, works to uncover what Giles calls ‘the blinkers of smug social hierarchies and assumptions’35 embodied in Pynchon’s description of ‘a permanent power establishment of admirals, generals and corporate CEO

in Thomas Pynchon