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A multimodal reading of archived London-French blogs
Saskia Huc-Hepher

nationally circumscribed archiving memory institutions. Such territorialisation consequently raises questions over (trans)national identity and emplacement, both online and on-land, and the deterritorialisation associated with digital diasporas (Kele, 2016 ). The Good Morning London blog, situated within the .fr ccTLD domain, but archived in the UK Web Archive’s LFSC, thanks to curatorial intervention, also bears witness to metafunctional transformation indicative of London-French collective identity building and differentiation (Bourdieu, 1979a ; Werbner, 2018

in French London
London River and Des hommes et des dieux
Gemma King

in globalised contexts. For Elena Caoduro, in London River ‘for different reasons Elisabeth and Ousmane feel like aliens in a foreign land and their deterritorialisation as displaced persons grounds London River in the transnational, both thematically and in terms of global awareness’ (2011: 7). Consequently, in the context of the personal exchanges between Elisabeth and Ousmane, French does not carry the kind of loaded cultural, political or identitary connotations it has historically carried in French cinema. It is presented as a mutually familiar yet foreign

in Decentring France
Bill Marshall

unproblematically French (or European, or Moroccan): ‘every boundary proves itself a limit: apropos of every identity, we are sooner or later bound to experience how its condition of possibility … is simultaneously its condition of impossibility’ (Žižek 1991: 110). Furthermore, this lack at the heart of identity introduces the idea of a minor culture in the sense given that word by Deleuze and Guattari. This refers not to ‘minorities’ as such, but to ‘des germes, des cristaux de devenir, qui ne valent qu’en déclenchant des mouvements incontrôlables et des déterritorialisations de

in André Téchiné
Abstract only
Bill Marshall

within it, witness Quentin’s irruptions, and even a particularly distasteful scene of voyeurism and near-sexual assault when she is sleeping. These deterritorialisations contribute to the film’s fundamental notion of change and transformation, of ‘becoming-other’. However, questions arise here as to the meaning of the relationship with the theatre and acting, and of the nature of the process of change. A more conventional approach might be to set up an opposition between truth and falsehood around the metaphor of acting (the basis, for example, of Douglas Sirk’s 1959

in André Téchiné
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Dana Arnold

of deterritorialisation down which it constantly flees. There is a rupture in the rhizome whenever segmentary lines explode into a line of flight, but the line of flight is part of the rhizome. These lines always tie back to one another. 30 The line of flight, like the line, has no beginning or end, but always a middle. And it is in this middle or ‘in between’ that everything takes place. 31 If we think about the Deleuzian notion that it is not what the line is but what it can do or be, then a line can be a mark, a trace, a contour or an outline, which is

in Architecture and ekphrasis
Niilo Kauppi

English. The second significant process of de-territorialisation since the 1990s is the Internet, which has created a virtual public sphere where debate is conducted on all kinds of issues. New social movements have succeeded in using the Internet to further their messages, redefining politics and creating fora for a 'world opinion'. The expansion of the English-language public sphere and the Internet de facto unify the national European public spheres and create a common European public sphere by connecting Europe to global cultural and political post-Cold War

in Democracy, social resources and political power in the European Union
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The seductions of Terror amid the tyranny of the human
Julian Reid

liberal regimes of power that function by making the production of life itself an operative principle for the reproduction of power relations was, as we have already discussed in the previous chapter, fairly ineffable. Foucault provides scarce means to imagine or construe what life might actually be or become outside of liberal regimes of power that command and control life to a degree of ‘omnipresence’ (1990: 93). In the context of this failure, Deleuze and Guattari’s radical theorisation of the nomadic potentialities of life for the deterritorialisation of power was

in The biopolitics of the war on terror
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The ‘war against war’ of the multitude
Julian Reid

‘frontier’ in Anti-Oedipus, to designate the limit at which the organisation of societies and subjectivities undergo processes of deterritorialisation and enter upon lines of flight (2000: 281). Likewise the horizon of war, for Negri, expresses a point of, as he describes it, ‘ontological pregnancy’, where the polemical being of the multitude ‘presses for more, not satisfied with the horizontality that it has achieved, with its beautiful and animated flatness’ (1991: 119). The horizon of war, then, in this context is fairly comparable with Deleuze and Guattari

in The biopolitics of the war on terror
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