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1.
ABSTRACT

Catherine Malabou's opinion of non-essentialist models of gender identity and art is unambiguous: in her words, they are ‘catastrophic’ to women and to artists (Malabou [2014]. ‘Sujet: Femme'. de(s)générations des féminismes 21, 29-38: 135). What, then, are the implications of Malabou's hallmark concept of ‘plasticity’ on theories of performativity? Has plasticity come to supplant performativity, just as Malabou believes that it has come to supplant Derridean writing? Or if, as Malabou suggests, philosophical concepts are inherently plastic, may we maintain that performativity was always already plastic? In the following article, I read Malabou's work on writing alongside her work on the feminine in order to question how plasticity and performativity might be examined together to theorise the ways in which the discursive and the material interact in the production of subjectivities. By highlighting the performativity at play within Malabou's own writing about the end of writing, I propose that her work challenges her claim that literature cannot deconstruct philosophy. In response to Malabou's anti-essentialist plastic theory of the essence of woman, I underline the parallels between performativity and plasticity and suggest that the two concepts overlap in their mutual configuration of identity and form as mutable and transformable.  相似文献   

2.
ABSTRACT

In this article, I examine Catherine Malabou’s concept of trauma, and argue that her replacement of the Freudian unconscious with the cerebral unconscious might fit adequately into a different framework from the one she proposes. Comparing her view of pathology to that of Georges Canguilhem, I propose a dimensional reading of pathology. Building on this – and by reference to metaplasticity – I ask whether one can explain the mechanisation characteristic of the new wounded mechanistically. I then look at her exchange with Slavoj ?i?ek to get at Malabou’s understanding of psychoanalysis. She seeks to realign Freud and neuroscience to resolve issues with both. As part of this shift, she introduces the term ‘the Material’ – linked to the cerebral unconscious – as an alternative to the Lacanian triad of Real, Symbolic, and Imaginary. She does, however, leave it underdeveloped, and I argue that this points to tensions in her theory. While her concept of plasticity runs against ideas of an isolated transcendental subject exempt from the outside, Malabou seems to literalise (or ‘corporealise’) trauma. If this is correct, then how radical is her concept of trauma, and are there ways of describing trauma that are equally compatible with her concept of plasticity?  相似文献   

3.
ABSTRACT

This article explores how breakthrough neuroscientific research regarding the Microbiome-Gut-Brain-Axis (MGBA) resonates with Catherine Malabou’s discussions of a delocalised, decentralised, plastic brain. Inspired by Malabou’s materialist methodology, as well as her confrontation of neuroscientific and psychoanalytic paradigms, the article unpacks the imbrication of symbolic and neuro-microbiological treatments of the gut and its excreta. Interlacing the thought of Julia Kristeva, Melanie Klein and Malabou alongside current MGBA research and critical studies of science and technology, I reveal how symbolic and microbial transmissions in early childhood development reflect a multimodal and multitemporal formation that challenges the established imaginary associated with functional gut and subject development. Secondly, I consider how MGBA research bears upon questions of difference, examining its further materialisation of Malabou’s otherness in a world without exteriority. Through this discussion I question the significance of this biological paradigm shift, as it disturbs notions of agency and the subject/environment distinction, opening to pressing ethical questions at this moment in human history. Through these varied interrogations and provocations, I provide a preliminary window into the potential of MGBA research to enable new departures for thinking the fragmentary movement of form and time underpinning Malabou’s motor schema of plasticity.  相似文献   

4.
ABSTRACT

In Before Tomorrow: Epigenesis and Rationality (2014), Catherine Malabou argues that the current schism between innate a priori and a posteriori manufacture is symptomatic of our failure thus far to think the figure of epigenesis. Based primarily on a close reading of Kant's Critique of Pure Reason, Malabou maintains that epigenesis configures a possible line of flight beyond both the rigid prior accord of preformation and the magical inorganicism of generatio aequivoca, thereby transforming the principle of reason itself in making available for the first time the generative force proper to thought. In this paper, I aim to further clarify the process of temporal articulation by focusing on the alleged inseparability that Malabou seeks to establish between epigenetic temporality, the biological process to which it refers, and the future of the living being. To this end, I will be guided by three questions: first, why is it that only life possesses the capacity to manufacture within itself the future revelation of prior meaning? Second, on what basis can epigenesis be distinguished from automatism? And third, what exactly is the ‘newly figural’ element of life that for Malabou transforms both the principle of reason and the entire system of critique?  相似文献   

5.
Abstract

In 2006, a young female rapper named Diam's released an album that became the best‐selling CD in France: her CD and its reception is treated as a social phenomenon and examined against the backdrop of political arguments which developed in France in 2006–2007. Musical analysis shows that the sonic backgrounds of Diam's rap illustrated the importance of combinations and hard work in the symbolical production of a new order. Her texts manifested new combinations of social values which brought into the public debate changes in value systems that were just becoming developed enough to be taken up by political organisations and leaders. This is why the main themes in Diam's CD converged with topics engaged by the two main candidates in the French 2007 presidential election. This paper, combining the resources of musicology, literary analysis and political sociology analyses how Diam's put in aesthetic and emotional forms combinations of values that had been brewing underground for the past 30 years. It invites a reconsideration of the interpretation of rap as an expression of rebellion, or even as an element of counter‐culture, and apprehends it as a ‘social revealer’ that brings new values and representations into public debate and stimulates discussion around them. Diam's album was an ‘unidentified political object’ that shed original light on the way politics and politician are perceived by ordinary citizens, or specific groups among them, such as the youth.  相似文献   

6.
The film Black Swan, directed by Darren Aronofsky, provides a fruitful context for thinking about Deleuze's conceptualisation of structural transformation as a ‘presubjective’ process involving a critical and creative politics of engagement. Nina is a young dancer who has just secured the lead role in the New York Ballet's new production of Swan Lake. This role not only requires her to dance the pure and innocent character of the White Swan – a role that mirrors Nina's character in real life, and for which she is well suited – but also as the seductive and darkly erotic character of the Black Swan, a role quite alien to Nina. The film traces Nina's desperate efforts to meet the demands of this doubled characterisation. Through new forms of engagement with her peers, she enters into a ‘becoming-swan’ that frees her from the restraints and constraints imposed by her existing self. While this transformative process enables her to realise aesthetic perfection in her art, this comes at a heavy price: Nina not only is creatively destabilised, but ultimately is destroyed by the transformation she endures. By considering this work of cinema in light of Deleuze's writings on cinema, on ‘becoming-animal’, and on ‘Porcelain and Volcano’, this essay reflects upon a crucial question underlying much of Deleuze's political thought: how is it possible to privilege radical subjective and social transformation, without these structures of necessary coherence also ‘cracking up’ and being destroyed in the process?  相似文献   

7.
This essay re-explores the tie between ethics and politics in the thought of French phenomenologist Emmanuel Levinas and is specifically concerned with the political consequences that might be drawn from his unique account of ethics. In response to Victoria Tahmasebi-Birgani's recent reading of Levinasian politics as ethicoliberatory praxis, this essay attempts to exemplify such politics in relation to the silent standing protest that occurred throughout Occupy Gezi. As will be illustrated, this particular form of protest was symbolic of a struggle that was not tied to a classical notion of autonomous agency, but partially arose from ‘radical passivity’. It will be suggested that the protester's tacit participation in a shared endeavour to create responsive idioms for the Other can exemplify Levinasian ‘response-ability’ as a concrete praxis. Relying on Levinasian terminology, I suggest that Occupy Gezi's forms of silent protest created an ‘un-said Saying’ that disturbed the realm of politics from an ethical stance. Alongside a Levinasian reading, the protester's performed standstill will be explored in relation to what Butler and Athanasiou term ‘two senses of dispossession’ together with the concept implied by the Greek στα´σι? [stasis]. As I contend, stasis manages to escape from the principle of non-contradiction in Being through integrating Being's Other in implicating both movement and stillness, activity and passivity. Hereby, stasis potentially points to an-other peace before politics, thereby offering a prolific alternative to the classic Hobbesian account of a dichotomy between war and peace.  相似文献   

8.
Abstract

This essay considers Levinas' face-to-face ethical relation together with Gilles Deleuze and Felix Guattari's concept of ‘becoming animal’ as a response to the radical dehumanisation involved in biopolitics. Framing his analysis in terms of an archaic law banning wrongdoers as wolves, Giorgio Agamben shows that biopolitics strips humans of subjectivity and exposes them to political power. Levinas' answer to radical dehumanisation is an ethical humanism of the other, but his ethical program is barred from politics. Moreover, he writes that in his own experience of dehumanisation, the only ethical being he encountered was Bobby, the camp dog. It seems biopolitics calls for an ethical politics that we might possess as bare life, outside of the autonomous, individualising conditions of the humanist subject. To this aim, I apply Deleuze and Guattari's concept of becoming animal as a devise to transport Levinas' ethics of alterity to the political realm.  相似文献   

9.
ABSTRACT

What is the role of imagination in the constitution of finance capitalism? How do the fictions, myths, and (ir)rationalities of finance shape society's ability to imagine the future in the face of mounting political instability? Well over a decade since the Global Financial Crisis of 2008, today's financialised economies are still marred by stagnation and uncertainty. Against this backdrop, the increasingly speculative nature of economic forecasting, and the accelerated trading of promises of all sorts (from algorithmic and derivative markets to contemporary electoral politics) put the role of imagination centre stage. This special issue contends that, contrary to conventional wisdom, imagining the future is not necessarily equal to ‘fantasising' or to ‘irrational exuberance' or the ‘animal spirits'. Rather, it points to something much more fundamental: the power of finance to produce new social and political morphologies under conditions of radical uncertainty. The articles of the special issue confront these issues by mapping out a novel field of investigation into different, unique types of imagination undergirding finance capitalism in the years since its most recent crisis: from the future-making practices of mineral exploration and agricultural derivative markets, to the imagined futures of financial education programmes, the financialisation of creative work, and the role of future-oriented legitimacy in today’s populist politics.  相似文献   

10.
ABSTRACT

To cure Covid-19 on a medical, political, economic, and societal level, there is a need to ‘curate’ between science and politics in such a way that decision-makers and societies can address the practical requirements at hand. This commentary introduces and discusses ‘curating’ as a socio-material practice mediating between science and decision-making. It reflects on the current Covid-19 pandemic and compares ‘curatorial’ aspects here to the field of natural catastrophe risk finance. As both areas try to manage disasters, the space between scientific knowledge and economic and/or political decision-making becomes a particularly important node. By employing a focus on catastrophe simulation modelling, this essay looks at several issues of the natural catastrophe field that may yield ways to deal with epidemic crises such as the Covid-19 pandemic. This commentary suggests putting greater emphasis on (and encourages a research focus on) the ‘curation’ between science and politics to improve decision-making for socio-material disasters.  相似文献   

11.
ABSTRACT

This article investigates how cultural businesses may facilitate contentious political activity in authoritarian contexts. Existing research in Western liberal democracies has shown the widespread political activism of actors in the cultural and creative industries. Whether such activism exists in authoritarian society, how it may differ in character and form, and what implications this will have for our understanding of relations between business, politics, and culture in authoritarian countries remain to be addressed. Drawing on data collected from 55 ‘independent bookshops’ in China, I illustrate how these organisations perform ‘cultural politics,’ a type of political participation in which actors employ mainly symbolic means to express social and political concerns. The organisations’ economic relations and conditions facilitate their efforts to create spaces in which contentious questions can be raised, sensitive topics explored, and alternative ideas expressed, despite the Chinese state’s political regulation of the cultural sphere. The finding of the economic embeddedness of cultural politics sheds new light on our understanding of the political economy of cultural businesses in contemporary China.  相似文献   

12.
Abstract

This paper examines the external bystander’s (un)ethical engagement with the suffering of distant others in the brave new world of the 21st century, where, thanks to the growth of information technologies, we are all daily spectators and bystanders of human atrocity. In a recent turn, humanitarian movements have sought to incite their audiences to action through the use of simulation and new game media – the last few years have seen a surge of ‘serious games’ such as Darfur is Dying and Sim Sweatshop, as well as the creation in online community Second Life of simulated refugee camps and political protests. The paper draws on the post‐modern theories of Jean Baudrillard and Slavoj ?i?ek, as well as the ethical philosophies of Michael Ignatieff, Stanley Cohen and Avishai Margalit, to expose the limitations of this move, arguing that interactivity and public remembering via online simulations are more properly aligned, in the real world, to interpassivity and ethical amnesia than to the forging of an effective ethical community of human beings.  相似文献   

13.
Abstract

This paper critically examines the questions of agency and subject‐formation in Judith Butler’s book Giving an Account of Oneself (2005). The article problematizes Butler’s defense of agency and argues that her theorization of the subject (however in‐process) as individuated and differentiated from the other involves an economy of le propre (the proper, property, ownership) that establishes the self as a Gestalt totality that must be symptomatically, i.e. narcissistically and aggressively, defended. In contrast to Butler’s ‘account’ of ‘oneself’ I proceed to offer a non‐humanist, non‐individualist, non‐Oedipal perverse model of the subject that rejects the ideological demand of Gestalt totality of identity and destabilizes the borders between self and other. In such a model of perverse personhood there is no identifiable and coherent ‘one’ for which to give an ‘account’.  相似文献   

14.
Fantasies and especially excessive or ‘phantascistic’ fantasies, as they are referred to here, have the power to suppress within political communities, consciously and unconsciously alike, inner antagonisms in times of crisis. More precisely, they help to blur aporias within the ideological structures of a community through the evocation of a sensus communis (Kant) that establishes the community anew, similar to an act of religious conversion. Their impact on the space of reasons is analysed in this article as one that does not take part in the game of giving and asking for reasons, but operates in the background of communal reason via an emotionally and clandestine ‘code’ of what it means to be ‘We?…?– We who we are’. Next to theoretical elaborations of how and why these phantascistic fantasies are produced, the theory will be further explained through a series of exemplifications demonstrating the way that it has played out across a long history of conflict in the Middle East and a shorter history of contemporary politics in the United States. Through all of this, the aim is to illustrate how very concrete excessive fantasies have an impact on a body politic's form of enjoyment.  相似文献   

15.
ABSTRACT

This is the first academic paper to critically introduce and document the 30-year screen career of Pauline Chan, Australia’s highest profile Chinese film director, television actress and media producer. Sydney-based, Vietnam-born, Hong Kong-educated and US-trained, Chan has directed six films, starred in 14 and produced four television series and films. Despite her prolific career, there has been no sustained research on her profile and repertoire. This paper evaluates the evolution of Chan’s career using the diaspora ‘advantage’ as a new approach. Characterised by mobility rather than culturalism, the term refers to the benefits brought by and skills of diaspora groups that have allowed them to flourish as transnational actors able to leverage resources in both their countries of origin and settlement. It begins by elaborating how Chan’s diaspora advantage has allowed her to challenge welfare multiculturalism and extend aesthetic multiculturalism. It further documents her transition from a multicultural filmmaker to a cultural intermediary by leveraging her diasporic advantage across the film sectors in China and Australia, and opening up new industrial routes outside of the confines of policy. Using interdisciplinary methods to screen biography that include interviews with the filmmaker, film archival research, critical cultural policy studies, and studies in Asian Australian cinema and political economy, this paper argues that the new approach of the diaspora advantage turns the deficit associated with the diaspora into a dividend that has the potential to rethink the imaginary between Asia and Australia.  相似文献   

16.
This essay contributes to discussions about Indigenous politics and debates about contemporary democracy. It uses a case study of video art produced by young indigenous people and a community development organisation in the Pilbara, Australia. Those involved in the project use digital media under the auspices of the Big hART Yijala Yala Project to produce an interactive comic series. The essay addresses the following questions: Do contemporary community development projects play a conservatising role serving the interests of a neoliberal polity? Given the long-standing practice of representing modern media as a vehicle for western domination what, if anything, do these projects imply about the political relations between Aboriginal and non-indigenous Australians? Are Indigenous media and cultural work inherently political? What conceptions of the political are at stake in such arguments? We focus on how certain groups of young people use new media, and how their activities are political. The argument is that Indigenous media like these are ‘inherently political’ because they are about efforts to reclaim the images of indigenous peoples for themselves.  相似文献   

17.
ABSTRACT

Metaphors of ‘face’ are often found in South Korea’s fair trade activism, as fair trade is frequently described as ‘face-to-face commerce’ and its goal is presented as pursuing ‘global trade with a human face.’ By asking how and why fair trade relies on the metaphors of face, this article analyzes the political implications and limits of the trope. I first examine the intimate connection between gift-exchange and face based on Marcel Mauss’s analysis of the gift and I present face as a locus of symbolic recognition and politics. Next, drawing on ethnographic research into Beautiful Coffee, the largest fair trade organization in South Korea, I illuminate fair trade as a hybrid practice of ‘marketized gift-exchange’ in which the various faces of producers and consumers are produced and circulated along with market transactions. In examining the meanings of those faces, I maintain that the prevalent metaphor of face in fair trade betrays the contradictory nature of market-based solidarity that is sought through the activism to redefine the whole economic structure based on moral and ethical practices.  相似文献   

18.
Abstract

This essay examines post-migration identity of the Montagnard men who came to the United States as refugees. In particular, given the salience of home to identity, interview participants' notions of home space are explored. Findings are discussed first in terms of emotional, relational, sociocultural and political significance of home spaces that were identified by the participants. Then, the articulations of home are discussed in terms of implications they have for the current post-migration theories of cross-cultural adaptation and diaspora. The Montagnard men's experiences with and views of home shed light on applicability and limitations of the theories.  相似文献   

19.
Money is an ‘instrument of collective memory’ before it is a means of exchange, a unit of account or a store of value. Money's status as a memory technology is particularly significant in light of the role that information and communication technologies now play in economic transactions. Many of the new channels and infrastructures for payments, such as magnetic cards, mobile phones, the wired Internet, social media platforms, and RFID technologies, record detailed transactional data alongside a range of other identifying data. We now have extremely detailed records of the many ways that money circulates, is transferred and is spent. This paper concerns this previously latent transactional data and how it is currently recorded, monetised, and used to inform action. What has been recorded in and about money at different moments in time and how are these categories breaking down? Who has access to and ownership over this collectively produced record and how is it driving new data practices and business models based on the monetisation and application of monetary records? And how might re-engaging with money's mnemonic status help to foreground a politics and ethics of transactional data?  相似文献   

20.
ABSTRACT

This article offers a textual analysis and semiotic reading of the Rich Kids of Tehran's (RKOT’s) Instagram page. Contributing to scholarship on Iranian youth media practices, this article interrogates how the RKOT navigate urban and rural space to engage in everyday processes of resistance against global and local systemic oppression. Grounding their visual representations on Instagram in historical and cultural context, the author questions how and when quotidian actions are transformed into political transgressions when posted on social media. This article emphasizes the RKOT's agency in shaping their brand by analyzing representations of gender performance, intertextuality, and national identity on Instagram.  相似文献   

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