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genre in Franju’s longs métrages
Kate Ince

, whose reputations in the 1960s were built partly on the successful incorporation of elements of film noir and the suspense thriller into their early work. To do this I shall rely on the idea of genre as a ‘mark’ made influential in contemporary genre theory by Jacques Derrida’s essay ‘The law of genre’ ( 1980 ). In his essay, Derrida points out that in order to belong to a particular genre, texts have to be marked as so

in Georges Franju
On Regie, playing and appearing
Peter M. Boenisch

coming’.12 One could not better capture the attentive atmo­ sphere fostered by the Regie work discussed in this chapter. Through this projective moment of appearing (each of the performances will necessarily be different, as a result of their formal composition), Regie dialectically sublates the rigidity of the playtext, and eventually breaks through the closure of representation, the transcendental metaphysics of presence, which was challenged not least by Derrida (who was Malabou’s teacher). The playfulness at work in the productions of tg STAN and Andreas

in Directing scenes and senses
Steven Griggs and David Howarth

articulated into the discourse of ‘sustainable aviation’. Finally, drawing on poststructuralists like Jacques Derrida (1978, 1982), Michel Foucault (1972, 1981, 1984a) and Jacques Lacan (2006), we stress the radical contingency and structural undecidability of discursive structures (Howarth, 2009: 312). This arises because we assume that all systems of meaning are, in a fundamental sense, incomplete. By saying that discourses are incomplete, we do not mean that they are simply missing something, as when we say that we have not ticked all the boxes on a bureaucratic form

in The politics of airport expansion in the United Kingdom
Abstract only
Forms of shared distraction
Andrew Ginger

that might inform or direct life or the world. Variants of such a notion have become widespread, from Derrida’s ‘dissemination’ to Deleuze’s and Guattari’s ‘rhizome’, ‘an acentred, non-hierarchical, non-signifying system without a General and without an organising memory, or central automaton, defined solely by circulation of states’ ( 1987 : 23). As the description of a ‘non-signifying system’ suggests, the ‘acentred’ is often associated with the autonomy of signs from signified meaning or logos , from any sense that is present to consciousness, and by extension

in Instead of modernity
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Uncanny assemblage and embodied scripts in tissue recipient horror
Sara Wasson

, stranger, possibilities of relationality, two different philosophical concepts can be invoked: Jacques Derrida’s concept of ‘absolute hospitality’, and Gilles Deleuze and Félix Guattari’s concept of ‘assemblage’. Derrida describes ‘the absolute arrivant , who is not even a guest. He surprises the host – who is not yet a host or an inviting power – enough to call into question, to the point of annihilating or rendering indeterminate, all the distinctive signs of a prior identity’. 27 The receiver must accept the incomer entirely, including the risk that they may

in Transplantation Gothic
Haunting and community
Deborah Martin

3 La mujer sin cabeza: haunting and community1 This spectral someone other looks at us […] (Derrida 1994, 6) If historical and political allegory are suppressed, partial or even absent in Martel’s first two feature films, it is La mujer sin cabeza, which the director has described as ‘mi película más argentina’ (‘my most Argentine film’, Enríquez 2008) that appears to allude to the Argentine dictatorship of 1976–82 and to those ‘disappeared’ by that regime, and which follows the Argentine left-intellectual tendency to propose parallels between the violence and

in The cinema of Lucrecia Martel
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Saul Newman

identities and universal rational and moral norms. They might be seen, then, as being part of the Continental, rather than Anglo-American or analytical tradition of philosophy and political thought. Moreover, their theoretical trajectories could be broadly described as post-Althusserian and post-Saussurian, implying a move beyond structuralism in both politics and linguistics. Amongst those that I will be discussing, then, are: Foucault, Lacan, Derrida, Deleuze, Lyotard, Zˇizˇek, Rancière, Agamben, Laclau, Mouffe, Badiou, Connolly and Hardt and Negri. They represent a

in Unstable universalities
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Dana Arnold

converge in Euclidean space. Instead tactile considerations, derived from bodily spatiality, remain more important than purely visual information – a point to which I shall return. 13 And, arguably, Nelson Goodman, shares Berkeley’s interest in how unavoidably existent things rest within the mind. 14 I do not want to rehearse these debates here, rather my point in referring to them is to flag that the kind of reasoning that Berkeley was presenting is not solely the preoccupation of recent philosophical thought. Indeed, we also find echoes of Derrida’s concerns in his

in Architecture and ekphrasis
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Liz Tomlin

Afterword If Derrida’s deconstructive imperative demonstrates the ‘counterviolence of solicitation’; that ‘every totality can be totally shaken … can be shown to be founded on that which it excludes’ (Bass, 2001: xviii), then this study has committed itself, above all, to shaking the potentially totalising narrative of radicalism that has long been applied to performance practices that seek to challenge the dramatic model of theatre. The poststructuralist imperative, I have argued, rather demands a radical practice that is not based on the reification of its own

in Acts and apparitions
An introduction to literary and cultural theory
Series: Beginnings
Author: Peter Barry

Theory often eclipses the text, just as the moon's shadow obscures the sun in an eclipse, so that the text loses its own voice and begins to voice theory. This book provides summaries or descriptions of a number of important theoretical essays. It commences with an account of the 'liberal humanism' against which all newer critical approaches to literature, broadly speaking, define themselves. The book suggests a useful form of intensive reading, which breaks down the reading of a difficult chapter or article into five stages, as designated by the letters 'SQRRR': Survey, Question, Read, Recall, and Review. It explains the rise of English studies by indicating what higher education was like in England until the first quarter of the nineteenth century. The book talks about the Swiss linguist Ferdinand de Saussure, Roland Barthes, and Jacques Derrida. It lists some differences and distinctions between structuralism and post-structuralism under the four headings: origins, tone and style, attitude to language, and project. Providing a clear example of deconstructive practice, the book then describes three stages of the deconstructive process: the verbal, the textual, and the linguistic. It includes information on some important characteristics of literary modernism practiced by various writers, psychoanalytic criticism, feminist criticism and queer theory. The book presents an example of Marxist criticism, and discusses the overlap between cultural materialism and new historicism, specific differences between conventional close reading and stylistics and insights on narratology. It covers the story of literary theory through ten key events.