5 Benjamin’s ‘curious dialectics of intoxication’ An intoxication comes over the man who walks for long and aimlessly through the streets. With each step, the walk takes on greater momentum; ever weaker grow the temptations of shops, of bistros, of smiling women, ever more irresistible the magnetism of the next street corner, of a distant mass of foliage, of a street name. Then comes hunger. Our man wants nothing to do with the myriad possibilities offered to sate his appetite. Like an ascetic animal, he ﬂits through unknown districts – until utterly exhausted
4 Eclectic dialectics We discover then that power is present in the most delicate mechanisms of social exchange: not only in the State, in classes, in groups, but even in fashion, public opinion, entertainment, sports, news, family and private relations, and even in the liberating impulses which attempt to counteract it. (Roland Barthes)1 As a documentary filmmaker, William Klein has been a prodigious– if unpredictable– figure, often drawn to sensitive social fault lines, and the indeterminate spaces that exist between conventional categories and
3 Theatre as dialectic institution: Friedrich Schiller and the liberty of play We have started exploring how Regie reveals through scenes and senses a historically situated ‘style of thinking’, associated with the post-Kantian, post-1789 Western European ‘aesthetic regime of art’. No longer serving the functional semiotic economy of representation, it uses the three theatral ‘sensibles’ of kinesis, aisthesis and semiosis to insist on a subjective, affective intelligibility and sensibility. Already in 1803, we find a detailed outline by none other than German
The dialectical image of empire The dialectical image of empire Dialectic of the newest and oldest Fashion is a canon for this dialectic also The oldest as newest: the daily news The newest as oldest: the Empire1 The global artfair is considered the new entity of the globalized art institution – biennials and triennials have proliferated across the globe since the 1990s, appearing in a variety of cities such as Shanghai and Guangzhou in China; and in cities from diverse regions including Istanbul, Tanzania, Brisbane, Dakar, Sao Paolo, and Kwangju, to
The Gothic is the discourse which embodies the dialectic of the Enlightenment, with its potential to push the frontier of reason into the mythologized darkness. Embarking on the use of genre fiction as political discourse and finding a voice to tell a story of her generation, Carter made a major breakthrough in her career. Making use of the Gothic palimpsest, Carters Marianne leaves behind the sphere of (feminine) ‘interiority’-the psychic spaces of desire and anxiety for the (supposedly masculine) catharsis in the Other world, as a sixties heroine of sensibility. Heroes and Villains calls for the reconstruction of enlightenment at the ‘post-modern’ ruins of civilization.
aim, which is not so far removed from Bazin’s, is to identify those techniques and those films that are best able to capture the totality of the real (Rivette 1950a : 2). This does not necessarily entail a hostility to montage since, as Rivette argues, in Eisenstein’s work, each shot is conceived as a totality in itself before being placed in a dialectical relation to the totalities constituted by
Jean Toomer‘s Cane (1923) has long been considered a signature text of both avant-garde Modernism and the Harlem Renaissance. While Gothic tropes and imagery lurk throughout Toomer‘s collection of poetry and prose, Anglo-American Gothic conventions come to the foreground in the story ‘Blood-Burning Moon’. The story‘s interracial love triangle provides a locus of conflict between the post-Reconstruction American South and the haunting economic logic of slavery. Though the three characters each aspire to new racial, sexual and economic identities, they are terrorized by a society where employer-employee relations cannot escape the violence of the master-slave dialectic. Toomer does not relinquish his aesthetic experimentation and political radicalism to the Anglo-American Gothic, but instead engages the Gothic form in order to critique the violent racism of American capitalism. In this way, Toomer positions the Gothic centrally within African-American literary and cultural history.
This essay reads the opening of Marcel Proust‘s In Search of Lost Time against its high-modernist reception history to recover its Gothic unconscious. My argument first traces the repressed horror tale at the heart of ‘Combray I’ by foregrounding tropes of fear and imprisonment; I then recontextualize Proust within the Gothic tradition, drawing explicit comparisons to Poe and Radcliffe. I suggest that the narrators invocation and subsequent repression of Gothic forces, in particular of the uncanny, constitutes the novels primal dialectic and plays a constitutive role in the dramas of memory and desire.
Shot in a blue washed monochrome, the city of Tsukamoto Shinya‘s A Snake of June, stages a number of highly mediated sadomasochistic sexual encounters within its public spaces. This article examines how the forms of mediation offered within the narrative by both architecture and technology as well as the mediation offered by the film‘s extraordinary blueness articulates the intimate relationship between sexuality and modernity. Following on from the work of Maurice Merleau-Ponty, it combines a phenomenological and dialectical approach to develop an analysis of sexual pleasure and sexual politics which can account for the embodied interaction of urban subjects and urban spaces.
This chapter discusses how the media practices of a media institution relate to the practices of individuals. By exploring the thoughts and actions of non-Muslims’ media behaviour, it is possible to ascertain in what ways a mediacratic society informs and structures behaviour. This will provide a natural follow-on from chapters 1 and 2, and informs the reader as to how media as an institution relates to socio-political practices.