Inequality is a coin that cannot be understood by studying only one of its faces. In the preface to this volume, besides critically interrogating poverty, Williams asks what qualitative questions should we be asking about the rich?
real issue concerns the relationship between the author and his two dupes’ and that the ‘true “pseudocouple” is not Mercier and Camier but the author linked with his two creations.’ 1 I propose to expand on this point by P. J. Murphy, in order to observe how the issues of authority, visibility, andinvisibility can be helpful to assess the role played by Dante in Mercier and Camier in relation to both Mercier et Camier and other texts by Beckett.
Written in French in 1946, Mercier et Camier was published only in 1970, while the self
’ (see Chapter 5 ). Harry and Meghan's emerging roles as ‘post-royals’ reveals ongoing tensions in the Firm. I argued in Chapter 2 that the balance between visibilityandinvisibility is carefully choreographed, across a now more diffuse media system, to reproduce monarchy's power. Harry and Meghan's resignation temporarily disturbed this balance. Indeed, I argue that it temporarily made visible those institutional infrastructures and relations that are usually kept invisible. Such visibility makes their resignation useful for us to draw together the various threads
The Last Exorcism (2010), Troll Hunter (2010),
Apollo 18 (2011) and The Bay (2012), among many
others. Two things have contributed to the current success of this
device: one is its innovation on the play between visibilityandinvisibility, and the second is its use of realistic sound (often
from an unseen source, which heightens the first effect). Even
The 2008 Italy–Libya Friendship Treaty and thereassembling of Fortress Europe
Chiara De Cesari
This chapter considers the dyads of materiality and immateriality and visibility and invisibility by investigating the relationship between social memory, international treaties, and the remaking of geopolitical borders. Focus is on the Mediterranean as a border zone currently undergoing a process of change. In particular, the chapter discusses the Italy–Libya Friendship treaty of 2008 and the ways in which it works as a non-site of memory and a bordering technology. By analysing the text of the Treaty and the symbolic politics that framed its signing, it argues that while the Treaty was publicly represented as a tool of reparation for crimes committed during the colonial period – as a site of memory – its actual effects were rather different.
the frame of appearance. At the same
time, they demonstrate that the sign woman cannot be completely dismantled
or imagined anew. Its histories mediating relations among masculine subjects
are too long and entrenched, for one thing, and its internalisation has been
too pervasive and thorough. It is through the spaces between visibilityandinvisibility that these artists address viewers and ask them to become readers
of the visual histories they have inherited and thereby contribute a feminist
imaginary in which other definitions of woman can come
photographs allowed both soldiers and civilians to familiarise themselves with a changing and challenging place.
Photography was a practice that allowed combatants and civilians to make sense of their war experiences, to engage with others and the world. It is in this context that photography’s power to make visible and invisible matters. Visibilityandinvisibility were not intrinsic characteristics of the photographed subjects, but the results of certain photographic operations. The comparison between the photographs of the war missing and the non-existent photographs
looking, of visibilityandinvisibility, seem virtually non-existent in Joe Slovo’s
own autobiographical memoir. His Unfinished Autobiography 13 is a collection of largely anecdotal and often
humorous fragments which he had started writing before his untimely death of cancer in 1995
(less than a year after he had taken up office as the minister of Housing in the new ANC
Government). It reveals Slovo’s background as a working-class Lithuanian Jewish refugee
who came to Johannesburg at the age of 10, worked as a clerk and lived with
orders, wearing the headscarf, looking visibly ‘different’, and generally evoking stereotypes which make them ‘matter out of place’, as Leutloff-Grandits highlights in her moving accounts of Kosovan brides waiting to join their spouses in Austria and Germany ( Chapter 3 ). There is a tension between visibilityandinvisibility here, however. For example, many migrant careworkers, like those Fedyuk and Nicolescu describe in their ethnographies from Italy, are rendered invisible in their places of work. They remain hidden from public view in private or domestic spaces
Young people, subjectivity and revolutionary border imaginations in the Mediterranean borderscape
of contemporary borderscapes is reduced to simple narratives and images. Complexity is made invisible: ‘objects and subjectivities are given an aesthetic surface, which conceals b/orderings and the workings of power’ (Schimanski and Wolfe, 2017 : 157; see also Johan Schimanski, Chapter 10 below). The entangled tensions between visibilityandinvisibility take on a key role in the functioning of b/ordering regimes, and analysis of such regimes should thus include a wider focus on the multiple and shifting intersections of ‘in/visibility and in/security in today