ABSTRACTMaría Zambrano's biggest contribution to intellectual history is, without a doubt, her poetic reason; her unique attempt to overcome the limiting coordinates of the framework of rationality established by the Enlightenment. Having spent forty-five years in exile, the relevance of this Republican thinker has only been acknowledged in recent decades. Since then, the political content of her early work, as well as her engagement with the Republic's cause prior to and during the Spanish Civil War are well known. Nevertheless, although (...) Zambrano still wrote some political books after the Civil War, most notably, Persona y democracia, the political component of her thought after this period has passed largely unnoticed. This article intends to take a wider approach to Zambrano's political engagement by exploring the political significance of her poetic reason. Here I contend, first, that poetic reason, far from being an isolated attempt at developing an alternative rationality, is actually in line with the critique of instrumental reason proposed by the Frankfurt School and, second, that, in fact, there are meaningful parallels between poetic reason and Frankfurtian Critical Theory. Thus, the purpose of this article is to explore such parallels and their significance in revealing the political dimension of Zambrano's thought. (shrink)

It is argued that self-sacrifice in the zombie apocalypse can be read as a cultural signifier for a series of neoliberal deformities such as social immobility, the success/failure hierarchies, corporate nepotism, the illusion of choice and ingrained prejudice. This thesis intends to provide a means of interpreting and categorising audiovisual, subjective, episodic and ludic self-sacrifices. It aims to identify how representations of self-sacrifice exist as a symptom of social hierarchies and ingrained competition. Therefore, self-sacrifice is part of a cultural vocabulary (...) that is constantly pointing out the flaws of the neoliberal state and is not being correctly understood. This study matters because it breaks new ground in the analysis of self-sacrifice and identifies representations of self-sacrifice as part of a cultural language that signifies the twisted values of modern neoliberalism. Case studies examining a range of media will present audiovisually similar accounts of self-sacrifice; however, the cultural impact, resonance and legacies will differ accordingly. The formation of self-identity is therefore reconfigured in both textual and contextual conditions. Furthermore, because society is more frequently subjected to videos, texts, films, series, games apps and other means of information transferral, one of the defining characteristics of modern neoliberalism is its intermediality. It is for this reason that this thesis shares such intermediality. With each shift to the examination of self-sacrifice in a different medium, theoretical critiques of neoliberalism take on correspondent nuances that endeavour to give the upcoming analysis depth and contemporary relevance. It outlines how competition has become ingrained in social constructions. It makes evident how pre-existing socioeconomic hierarchies are reinforced by the internalisation of failure. This thesis argues that representations of survival and the compulsion to survive are not about resourcefulness but a competitive sense of outlasting and gauging self-worth by the failure of others. The illusion of choice is also put forward as another way of interpreting the cultural defects of neoliberalism. Survival and self-sacrifice are both linked in the zombie apocalypse because they present a choice in a situation that removes all aspects of choosing. They depict an impasse that can only be traversed by self-appraisal and self-evaluation. This is because the choice to self-sacrifice is invariably set up by a previous infection or disadvantage and survival is, by definition, operative in scenarios that restrict a character’s propensity to survive. The winners survive and everyone else dies out. Again, this can be related to constructions of social competition and its tendency to reinforce the positions of those at the pinnacle of cultural hierarchies. This thesis also examines the illusion of choice to various degrees in interactive media, weighing up how the concept of self-sacrifice can represent a disruption to reestablished socioeconomic hierarchies through incremental self-enrichment. (shrink)

In its etymology and in popular discourse, the term ‘avant-garde’ is commonly associated with a future temporality, while in art-historical discourse, it represents a tradition of modernist innovation, periodised as ‘historical avant-garde’ and ‘neo-avant-garde’. Since this historical periodisation was first established in the 1950s, the avant-garde’s futurity has been repeatedly disputed, bringing the very notion of an avant-garde into question. This thesis takes as its starting point the predicament of ‘an avant-garde after the avant-garde’ as a means to investigate the (...) philosophico-political implications of a historical temporality marked by ‘afterness’. Writing in critical dialogue with scholarship that has articulated the avant-garde as a notion of historical time, the thesis modifies the parameters of this scholarship by foregrounding the category of historicism, and by reformulating the avant-garde as a notion that both resists and inhabits historical periodisation. As a study at the disciplinary intersection of comparative literature and critical theory, 'Ahead of its Time' proceeds via close readings of selected theories of the avant-garde (German literary scholar Peter Bürger’s foundational Theory of the Avant-Garde in the 1970s; British art theorist John Roberts’ formulation of a ‘suspensive avant-garde’ in the twenty-first century; and the intellectual debates of the Italian circle Neoavanguardia in the 1960s), while also mobilising the critical resources available in the thought of Walter Benjamin. Through a non-linear, comparativist critical analysis that discusses these theories in, and as, a Benjaminian constellation, the thesis proposes the avant-garde as a relational, indexical category that is constitutively split between historical continuity and historical rupture. In this manner, 'Ahead of its Time' revisits the broader question of mediation between universality and particularity, and by recasting it in temporal terms, it advocates a chronopolitics of singularity, whereby the avant-garde’s split between continuity and rupture also reveals the ethically-necessary relationship between self-determination and contingency. (shrink)