From Augustine’s (death) drive towards an imaginary time before speech to Marx’s drive toward an imaginary time after speech as we know it, we learn that we are always already within the bonds of the mother tongue. In the late twentieth-century, Derrida turns to both Augustine and Marx to repeat the fantasy of escaping the mother (tongue). Derrida responds to Marx’s analysis of our repeated failure to forget the mother tongue by turning to Augustine’s analysis of the mother’s touch: we (...) cannot forget the mother tongue because it is licked upon our skin. Drawing on Derrida’s relationship to Augustine and Marx on the topic of touch and language, I argue that although the bond of the mother tongue is inescapable, its very real grip upon our skin is founded upon a number of fantasies: the fantasy of the Mother, of a cut with the Mother by the Mother, which separates us from an original shared skin and binds us to the Mother tongue, the fantasy of self-articulation in the death of the Mother. I suggest that the symptoms of the fantasmatic foundation of our entrapment by the mother tongue-touch is expressed in barely perceptible glitches—a shiver passing over one’s skin, a stutter in one’s speech. (shrink)

This essay offers a Deleuzian reading of Drift, a multilingual project by the cross-disciplinary artist Caroline Bergvall. It argues that the text- and performance-project promotes forms of deterritorialization that give radical witness to the contemporary humanitarian crisis in the Mediterranean where thousands of people drown each year as they try to reach Europe. In breaking down barriers between languages, the artistic work employs non-representational modes of address to reflect on what it means to lack citizenship and recognition in the context (...) of the crisis. Close readings challenge postcolonial accusations that the writings of Deleuze and Guattari are at best utopian and at worst politically naive and without purchase on the real-life catastrophes of Fortress Europe. Instead, Deleuzian strategies are shown to enable Bergvall to actualize a multilingual politics of speech and performance that points towards the historical and contemporary imbrications of the West in mass-drownings of recent... (shrink)

I take it that (1) the central problem of political philosophy is how to deploy philosophy in the criticism and direction of practice. This paper maps out the basic terrain of the relationship between (A) neo?Kantian Critical Theory (for example, Jürgen Habermas), (B) hermeneutics (for example, Charles Taylor) and (C) constructivism (for example, Gilles Deleuze and Felix Guattari). It contends that this central problem (1) is not met by the arguments of (A) and (B) ? these representing what I call (...) ?the communicative turn in political philosophy?. They assume ?democratic dialogue? is its own justification and that from it spring both truth and right. The key objection is that the communication of opinions is not the same as the demonstration of their validity. I argue that (C) may help to take us beyond the failures of (A) and (B). (shrink)

This article reconstructs a pragmatist conception of political conviction from the works of William James. Pragmatism is often criticized for failing to account for the force of moral convictions to motivate risky and confrontational political action. This article argues that such criticisms presume a conception of conviction as an experience of moral command that pragmatism rejects. In its place, pragmatism portrays the experience of conviction as acting on faith. Drawing on Gilles Deleuze’s notion of the stutter, I argue that this (...) experience of faith is neither a deliberative justification nor a form of decisionism but rather a style of moral deliberation that is experimental, social and affective. I consider the sole piece of political oratory in James’ corpus, his 1897 oration to Robert Gould Shaw and the Massachusetts 54th Regiment, as a significant example of stuttering conviction. James’ oration seeks to demonstrate the ways that convictions can take hold of actors without relying on deep philosophical foundations or justifications. Although James places his argument squarely within the context of the politics of race, he himself does not attend to the ways his celebration of Shaw obscures the moral experiences of the African–American soldiers of the 54th. In response to this blindness, the final section considers whether or not the martyrdom of John Brown provides a more appropriate conception of conviction than James’ Shaw. (shrink)

This essay focuses on Mahmoud Darwish’s exilic experience as depicted in Memory for Forgetfulness: August, Beirut, 1982 (1986). For Darwish, the siege of Beirut was a climactic moment in which he realized that he is stuck on a perpetual threshold. Imposed by the sovereign power, this exilic threshold characterizes the Palestinian refugees in Lebanon bereft of their rights as citizens and held outside their homeland and political domain. I wish to argue that, rather than being trapped in this condition, Darwish (...) takes it as a vantage point to critically reconstruct the notions of homeland and political belonging. This involves a contrapuntal approach to the notions of homeland, diaspora, and memory, and acts as a form of resistance. It converts the exilic threshold that keeps the poet neither outside nor inside the political domain into a site of worldliness in both the Arendtian and Saidian sense of the term. Elaborating on Judith Butler’s account of cohabitation and diasporic thinking, I argue that the exilic condition Darwish describes can give rise to a political ethic that resists the homogenization of spaces and temporalities, and allows for an alternative sense of political belonging. (shrink)

This essay on cultural studies and the African Diaspora argues for a rethinking of cultural studies in two critical ways: firstly, that cultural studies, from its founding institutional and conceptual moment, cannot but be thought diasporically; and, secondly, that cultural studies be thought ‘out of’, or, against, context—that is, cultural studies is most revealing in its political and literary articulation when it is not read, as many of its advocates claim, contextually. This essay offers a broad critique of cultural studies (...) and the diaspora but derives its most cogent and creative argument from its ability to read together the work of two diasporic authors, deracinated South African and Australian writers, J. M. Coetzee and David Malouf. (shrink)

This thesis explores and describes the comic features of Samuel Beckett’s prose works. It explores fundamental questions about Beckett’s humour. On the one hand, it investigates the nature of humour, and, on the other, it investigates what counts as humour in Beckett. This twofold investigation requires ‘attuning’ philosophy and literary criticism, where questions and tools of each discipline mutually sharpen and refine each other. Chapter 1 evaluates philosophical accounts of humour and identifies Incongruity Theory as the theory offering the best (...) account of humour. According to this theory, a necessary and not sufficient condition for comic amusement is the perception of an incongruity. Chapter 2 starts exploring what counts as humour in Beckett by examining where comic incongruities are located. By doing so, this chapter puts the Incongruity Theory to the test, and, evaluates the analytical tools ordinarily used in describing humour. This exploration uses Ruby Cohn’s seminal description of Beckett’s humour as a springboard. This chapter individuates a comic layer which Cohn’s description has overlooked – the ‘comic of language acts’. Chapter 3 analyses Beckett’s texts in order to describe the comic devices that depend on the performance of language acts. In order to do so, the discussion makes use of Austin’s Theory of Speech Acts. As a result, this chapter develops a set of tools able to capture ‘the comic of language acts’, a comic layer which crucially shapes Beckett’s writing. Chapter 4 demonstrates how to make use of the set of tools developed in Chapter 3 by examining three key works of Beckett – More Pricks than Kicks, Watt, and Molloy. This examination leads to the individuation of three movements at the level of illocutionary acts – ‘twists’, ‘convolutions’, and ‘oscillations’ – which are informative of Beckett’s writing and of the experience of reading these works. (shrink)

Principles of design composition are commonly understood to pertain to geometrical systems for arranging parts in assembling a formal whole. Connection to socio-cultural 'meaning' and relevance arguably occurs primarily via the assumed divinity or universality of these systems. In the contemporary architectural world, where explicitly held beliefs in fundamental, geometrically defined principles or values have dissipated, guiding principles of composition appear to be obsolete. This seems particularly true in relation to work that highlights process - or change, responsiveness, interactivity and (...) adaptability - since this implies that the composition remains in flux and unable to be grounded in the composition of form. While processually inflected architecture (referred to here as 'processual architecture'), has been an active field since at least the 1960s, it has been significa ntly developed since design experiments involving digital computation intensified in the 1990s. For this field of work, both highly celebrated and criticised as superficial or unethical, any connection to 'meaning' or value that might be offered by principles of composition would appear especially lost. This thesis reviews, counterpoises and reorients these assumptions, arguing a case for the value of processual architectural that has not been previously articulated. After the last 10 to 15 years of digital experimentation, it is clear that digital technology in itself is not the primary issue, but simply part of a complex equation. The thesis articulates this 'equation' through the model of emergence, which has been used in the field with increasing prominence in recent years. Through both practice-based research and theoretical development, a processually inflected theory of composition is proposed. This offers pathways through which the potential of processual architecture might be productively developed, aiming to open this field of work into a deeper engagement with pressing contemporary socio-political issues. The thesis demonstrates how the cultivation of particular modes of attention and engagement, found to hold an implicit but nevertheless amplified significance within processual architecture, make it possible to develop an embodied awareness pertaining to an 'ethico-aesthetic know-how'. This know-how is acquired and matured through attention to the affective dimensions that arise through design activity. The thesis highlight aspects of design process and products that are routinely suppressed in architectural discourse, generating new insights into the importance of affect for design process, design products and the relations between them. The ethical dimensions of such an approach become especially poignant through the explicit connection made between design activity and the practices of everyday life. Relationships between architecture and the social become re-energised, in a radically alternative manner to the social agendas of modernism or the more literary critiques of post-modernism. Through detailed discussions of the specific, local conditions with a series of design projects I have undertaken, I argue how and why close attention to the affective dimensions of design process offers new and productive ways to approach research through design practice. This offers a response to the calls for new 'post-critical' forms of research through empowering both sides of a previously held divide: theory and practice. (shrink)

Rob Halpern reads Taylor Brady’s Microclimates and Occupational Treatment as examples of the way the novel form can, on the level of the sentence, account for the disjointed temporality of financialization. Brady’s novels narrate affective epiphenomena — the histories of particular bodies and selves — that emerge to accompany or resist the damage of crisis, making the logic of intractable economic forces perceptible.

Paul Stasi reviews Thompson’s edited collection Georg Lukács Reconsidered: Critical Essays in Politics, Philosophy, and Aesthetics.

Drawing on Maurice Merleau-Ponty and Raymond Williams, Jason Baskin argues that the perceived divide between “surface” and “depth” models of reading ignores the phenomenological relationship between the surface of objects and their forms. Readers should therefore approach texts with “soft eyes,” a way of reading that approximates the object in relation to the social totality.