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Bonnie Honig levels a similar charge at Sandel’s communitarianism, suggesting that ‘the ultimate aim of friendship in Sandel’s community politics is to affirm and reinforce identification with community’ in a process of ‘perpetual reintegration’. 41 Civic friendship therefore risks producing community and consensus at the expense of pluralism and democratic debate. This quandary animates Jacques Derrida’s The Politics of Friendship (1997) , the most prominent of a number of works of continental philosophy that have revisited the political philosophy of friendship

in The politics of male friendship in contemporary American fiction
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Chari Larsson

technique creates an interweaving of positive and negative, visible and invisible, form and informe . In this way, Didi-Huberman draws Hantaï close to Derrida and, ultimately, Merleau-Ponty. In Memoirs of the Blind , Derrida stressed the interrelation between the visible and the invisible, writing, ‘this invisibility would still inhabit the visible, or rather, it would come to haunt it to the point of being confused with it’. 13 No longer binary and oppositional, the link between the visible and invisible becomes an interlacing ( l’entrelac ), a chiasmus. In Didi

in Didi-Huberman and the image
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Through everything
Nicholas Royle

writing appears to have flourished at the expense of, and even in marked resistance to, what is called ‘theory’. How far away the practice, the university subject, the business and culture of ‘creative writing’ can seem from the radical affirmations and provocations of the 1960s and 1970s, from the imaginative insights of those thinkers and writers associated with ‘theory’ (Adorno, Barthes, Blanchot, Deleuze, Derrida, Foucault, Irigaray, Kristeva, Lacan, Lyotard and so on). In any such ABC of ‘theorists’, the name ‘Cixous’ must be included. In the English

in Hélène Cixous
Social and cultural modernity beyond the nation-state
Author: Shivdeep Grewal

German philosopher Jürgen Habermas has written extensively on the European Union. This is the only in-depth account of his project. Published now in a second edition to coincide with the celebration of his ninetieth birthday, a new preface considers Habermas’s writings on the eurozone and refugee crises, populism and Brexit, and the presidency of Emmanuel Macron.

Placing an emphasis on the conception of the EU that informs Habermas’s political prescriptions, the book is divided into two main parts. The first considers the unfolding of 'social modernity' at the level of the EU. Among the subjects covered are Habermas's concept of juridification, the latter's affinities with integration theories such as neofunctionalism, and the application of Habermas's democratic theory to the EU. The second part addresses 'cultural modernity' in Europe – 'Europessimism' is argued to be a subset of the broader cultural pessimism that assailed the project of modernity in the late twentieth century, and with renewed intensity in the years since 9/11.

Interdisciplinary in approach, this book engages with European/EU studies, critical theory, political theory, international relations, intellectual history, comparative literature, and philosophy. Concise and clearly written, it will be of interest to students, scholars and professionals with an interest in these disciplines, as well as to a broader readership concerned with the future of Europe

Rethinking verbatim dramaturgies

Responding to the resurgence of verbatim theatre that emerged in Britain, Australia, the United States and other parts of the world in the early 1990s, this book offers one of the first sustained, critical engagements with contemporary verbatim, documentary and testimonial dramaturgies. Offering a new reading of the history of the documentary and verbatim theatre form, the book relocates verbatim and testimonial theatre away from discourses of the real and representations of reality and instead argues that these dramaturgical approaches are better understood as engagements with forms of truth-telling and witnessing. Examining a range of verbatim and testimonial plays from different parts of the world, the book develops new ways of understanding the performance of testimony and considers how dramaturgical theatre can bear witness to real events and individual and communal injustice through the re-enactment of personal testimony. Through its interrogation of different dramaturgical engagements with acts of witnessing, the book identifies certain forms of testimonial theatre that move beyond psychoanalytical accounts of trauma and reimagine testimony and witnessing as part of a decolonised project that looks beyond event-based trauma, addressing instead the experience of suffering wrought by racism and other forms of social injustice.

Further reflections on forms of border
Sarah Green

of potentially endless connections: Interpretation must hold objects of reflection stable long enough to be of use. That holding stable may be imagined as stopping a flow or cutting into an expanse … ‘Cutting’ is used as a metaphor by Derrida himself … for the way one phenomenon stops the flow of others. Thus the force of ‘law’ cuts into a limitless expanse of ‘justice’. (Strathern 1996: 522) Strathern’s point is that there are various (epistemological, legal) mechanisms that make ‘cuts’ in the potential endlessness of networks or rhizomes – and it is those cuts

in The political materialities of borders
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Digital memory and salvation
Stephen Curtis

put faith in the computer, give up our work to the invisible, and be prepared to conjure forth a ghostly revenant to interrogate and save again. Each time we save, we renounce our claim to the file, and, as Derrida states, ‘A phantom’s return is, each time, another, different return, on a different stage, in new conditions’ (Derrida and Stiegler, 2002 : 22). This

in Monstrous media/spectral subjects
From Burke’s Philosophical Enquiry to British Romantic art
Author: Hélène Ibata

The challenge of the sublime argues that the unprecedented visual inventiveness of the Romantic period in Britain could be seen as a response to theories of the sublime, more specifically to Edmund Burke’s Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). While it is widely accepted that the Enquiry contributed to shaping the thematics of terror that became fashionable in British art from the 1770s, this book contends that its influence was of even greater consequence, paradoxically because of Burke’s conviction that the visual arts were incapable of conveying the sublime. His argument that the sublime was beyond the reach of painting, because of the mimetic nature of visual representation, directly or indirectly incited visual artists to explore not just new themes, but also new compositional strategies and even new or undeveloped pictorial and graphic media, such as the panorama, book illustrations and capricci. More significantly, it began to call into question mimetic representational models, causing artists to reflect about the presentation of the unpresentable and the inadequacy of their endeavours, and thus drawing attention to the process of artistic production itself, rather than the finished artwork. By revisiting the links between eighteenth-century aesthetic theory and visual practices, The challenge of the sublime establishes new interdisciplinary connections which address researchers in the fields of art history, cultural studies and aesthetics.

Shakespeare in the time of the political
Richard Wilson

Whatever their meaning Shakespeare’s last words seem to speak of a profound failure. Yet in his critique of speech act theory Jacques Derrida opened a new itinerary for criticism by connecting art precisely with the experience of failure or ineptitude, and with the counter-intuitive idea that what is most powerful is ‘often the most disarming feebleness’; so as a sign of the queer power of weakness, we

in Free Will
Kimberly Hutchings

and feminist arguments and certain threads in the theorisation of political time discussed in Chapter 3, specifically the arguments of Derrida and Deleuze, to delineate a different approach to theorising the temporality of world politics. Diagnosis and prescription Each of the theoretical arguments addressed in Chapters 4 to 6 offered a diagnosis of the times with prescriptive implications. This is as true of the International Relations theorists as it is of Fukuyama, and as true of Virilio and Agamben as it is of Habermas and Hardt and Negri, even though in each

in Time and world politics