this articulating function? Fictions of the fantastic offer interesting aesthetic responses to this question.
The chapter starts by approaching the fantastic as a spatial form, outlining its fixation with borders. It then engages with two versions of the same spatial transgression found across several cultural texts from the second half of the twentieth century. These aesthetic phenomena, which I approach as ‘border figures’ following Johan Schimanski ( 2016 ), invite us to reflect on the sociopolitical and existential implications of the
Manchester: Something rich and strange challenges us to see the quintessential
post-industrial city in new ways. Bringing together twenty-three diverse writers
and a wide range of photographs of Greater Manchester, it argues that how we see
the city can have a powerful effect on its future – an urgent question given how
quickly the urban core is being transformed. The book uses sixty different words
to speak about the diversity of what we think of as Manchester – whether the
chimneys of its old mills, the cobbles mostly hidden under the tarmac, the
passages between terraces, or the everyday act of washing clothes in a
laundrette. Unashamedly down to earth in its focus, this book makes the case for
a renewed imaginative relationship that recognises and champions the fact that
we’re all active in the making and unmaking of urban spaces.
, as exemplified above, nature is always waiting, ready to transgress boundaries, transforming spaces of former order to introduce
a plurality of temporalities and affordances that can create positive
and enduring relations.
Matrixial gazing in Tim Robinson’s walk-art-text practice
a borderspace, yet distant). This trans-subjective understanding of the
process of co-becoming involves what Ettinger calls metramorphosis – a process
in which ‘borderlines and thresholds’ are ‘transgressed or dissolved, thus allowing
the creation of new ones’.1 Metramorphosis becomes available to us through
Art bears the traces of the phallic and matrixial objet(s) of its creation.The work of art
we create, and the work of art in which we take part as viewers is not only the gaze
approaching us but is what metramorphoses us into part-objects and partial
embedded in the wide frame of liminality. The chapter will end with some conclusions about the film Babel .
Three Simmel theorems
The term ‘border-crossing’ might suggest that transgression is something which runs counter to the logic of demarcation and in opposition to it. In its logic, however, transgression is always included in demarcation. This brings me to the consideration of the phenomenology of very different manifestations, along with the manifestations of boundaries: two methodological premises that could be useful as a
stressful situation. Now press 1 to agree, 3 to disagree and 2 if you neither agree nor disagree.
What the voice doesn’t tell me is that – regardless of my choices – it will confirm that I am destined to be the leader of a highly transgressive act: a bank heist.
Your answers indicate that you’re someone who doesn’t take things lying down. The banks have got away with things long enough. You will be the one to set things right. Keep on your toes and be ready to act quickly if things go wrong.
Now it’s time to get ready to leave. I want you to take out all your
being transgressive authors too restless, physically and psychically, to be tied to
desk and quad.
Tim Robinson’s place in Irish Studies
The Irish Studies field is no different from others in the academic world, with
attendance at conferences both a necessity and a lifeline. If a scholar decides to
remain at home, he/she will be left outside of discussions, will fall behind with
regard to scholarly trends and become as dated as bell-bottom trousers and puffed-up
shoulder pads. In addition, particularly in North America, scholars need to attend
conferences in order to
opportunities for transgressive acts, such as the improvised theatrical performances in Body Movies . They also demonstrate how participatory intervention is assembled through a collective of actants. In this distributed process, events such as the spontaneous interaction between bystanders described above and transgressive forms of participation – such as the hijacking event in the Sundance Film Festival premiere of A Machine To See With described in Chapter 4 – are testament to the ability of the participant (or participants) to translate the artistic narrative of
Dewey’s pragmatism and its implications for the spatialisation of social science
and also in the binding together of participants in communication as a hedge against uncertainties and ambiguities. This relates to a view of normative work as a shared endeavour in which participants take responsibility for, in particular, the minor infringements and misdemeanours of other participants in order to maintain ‘face’. This is an understanding of normativity that is derived from efforts at maintenance, repair and pardons for social slips or infelicities, rather than explicit assertion, justification or critique of those social transgressions
, art and everyday experience.
On the other hand, a border turn in the humanities reaches back to the focus on margins and transgression in such thinkers as Jacques Derrida and Michel Foucault and has been strengthened by the impact of post-colonial theory and Chicanx studies, the latter connected to the borderlands of the Mexico–USA border. Indeed, the conceptual shift away from studying territorial border lines to exploring a more symbolic idea of ‘borderlands’ can partly be traced back to Gloria Anzaldúa's seminal work of Chicanx cultural theory