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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
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Anne Ring Petersen

. Historically, the conceptualisation of place and movement in the social sciences has been dominated by a dichotomisation between sendentarism and deterritorialisation, i.e. the tendency to perceive human beings as either static, and dwelling in a specific place, or as placeless nomads – and to take the locational stability of sendentarism to be the norm. The mobility turn opposes this dichotomy and testifies to the ongoing attempt to chart and understand how international migration and other mobilities – such as tourism and travel mobilities, for example – have profoundly

in Migration into art
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Marc James Léger

transposed onto most of the twentieth-century avant gardes. Whether or not one agrees with his critique of dialectical materialism will largely determine how one responds to Raunig’s transvaluation of tradition. His critique removes art from its Marxist-Hegelian understanding and in turn hypostatises terms like art, state and life in order to propose a deterritorialisation where Wagner and Lunacharsky can figure within a transhistorical pattern of art practice and politics, liberated into a series of concatenations that overlap into zones of emergence that neither follow

in Vanguardia
Anna Dezeuze

‘noble’ forms.85 According to Jouannais, 247 248 The light years, 1991–2009 Walser thus defied both the stupidity of the bourgeoisie and all pretences to ‘intelligent’ art, thereby maintaining a deliberately marginal position. According to Gilles Deleuze and Félix Guattari, minor literature involves shifting territories through ‘deterritorialisation’, and finding ‘means’ to express another ‘sensibility’ that has yet to come into existence.86 Likewise, Lynne Cooke, in her introduction to the catalogue for a series of exhibitions inspired by Walser (at the Donald

in Almost nothing
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Andy Birtwistle

order imposed by morphological figures such as the refrain. Applied to a consideration of audiovisuality, the concepts of territorialisation and deterritorialisation provide a means to consider the ways in which the relationship between radical potential and containment plays through the cartoon; that is, how the notion of territorialisation engages with a micropolitics of audiovisuality. In order to explore the issues opened

in Cinesonica
Marc James Léger

labour politics, but so that ‘the reader and listener will be able to find in them new-born the experience of a reading,’ ‘shifting from the guttural enunciation of the voice and physical manifestations between artworks and the public.’ 16 In other words, what Enwezor was proposing was a Rancièrian ‘distribution of the sensible’ of the Marxist corpus. This was less a call for organisation around leftist parties and labour unions, and more an aesthetics that reflects the deterritorialisations caused by twenty-first century global capitalism, as described for instance

in Vanguardia
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Post-Troubles contexts and contradictions
Declan Long

inform the terms of the Good Friday Agreement, is a challenging one in other ways. Indeed, the internationalisation of the Northern Ireland situation could, perhaps, be seen to be just as problematic as it has been progressive. In this regard, and taking into account, for instance, the steady neo-​ liberalising of the British Labour Party under Tony Blair during the 1990s, we might bear in mind Chantal Mouffe’s apprehension about a new mode of capitalist internationalism that, she argues, erases politics through ‘deterritorialisation’. Such an ideological tendency, in

in Ghost-haunted land
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Design, activism and precarity
Ilaria Vanni

in Italy.62 From the 1980s onwards, globalisation and advancement in technology led to changes in production processes, based on variable production for niche markets, ‘just-in-time’ stock management (to produce and deliver goods on demand), the multi-skilling and deskilling of workers, deterritorialisation, and a shift from material labour to types of work that generate communication, knowledge, information and affects. In response to these new systems of production, successive Italian governments initiated labour reforms that emphasised employment flexibility

in Precarious objects
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
Katia Pizzi

ambivalence typifies the postwar futurist machine: dissipation, fragmentation, splintering, dispersion, deterritorialisation on the one hand, and, on the other, bedrock of discipline and rigorous politics, nationalist or Marxist as the case may be.84 The machine emerges as both dynamic agent of transformation, eliding national boundaries, as well as instrument of coercion, death and destruction. Machine technology is both effusive and liberating and, at once, shrouded in a military and masculine power tainted with destruction (see especially section 2.3). In sum, futurismo

in Italian futurism and the machine