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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
Open Access (free)
Surveillance and transgender bodies in a post-9/ 11 era of neoliberalism
Christine Quinan

gendered and sexed national bodies. (Bhanji 2013 : 517) Indeed, Feinberg’s novel is specifically engaging with intersections between citizenship, movement, and gender – and their attendant deterritorialisation and reterritorialisation – that Bhanji describes. As an aside, I want to ask what Max, who has no

in Security/ Mobility
The ‘European city’ as a territorialised entity
Anke Schwarz

strong instrument and feature of essentialising spatial exclusion, whether in Germany (Bürk, 2012 ) or the Ecuadorian–Colombian borderland (Zaragocin, 2018 ). Framing ‘race’ with Stuart Hall as a discursive category which emerges from its enactment in social practices (Hall, 2012 [1996] : 208), territorialising practices are one of the more obvious areas where this category operates. In this sense, deterritorialisation could be framed as a manner of denying space – that is, as referring to ways in which the appropriation and use of urban space are contested as non

in European cities
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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
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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
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
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
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Representing postcolonial African cinema
David Murphy and Patrick Williams

, however, can be prone to reductive assessments that bedevil discussions of postcolonialism: ‘While Fourth World peoples often invest a great deal in a discourse of territorial claims, symbiotic links to nature, and active resistance to colonial incursions, postcolonial thought stresses deterritorialisation, the artificial, the constructed nature of nationalism and national borders, and the obsolescence of anti

in Postcolonial African cinema