José Ortega y Gasset not only expressed his views on subjects such as art or mass culture but he was also one of the promoters and founders of a United Europe which he considered a cultural unity. However, his view on the proper functioning of multicultural societies was as skeptical as his attitude towards the possibility of constructing an unified world that could be based on cultural coexistence of the Western World societies.

Politics appears to have a direct impact on the quality of our lives as citizens of states. We outline here the dependence between culture and its inherent mechanism of forgetting, and between a hero and a political subject. We employ the theory of Juri Lotman, who underlines the role of individuals and of single events in culture. The primary illustration given is the figure of Lech Wałęsa, politician, legendary co-founder of the Solidarity trade union, and Nobel Peace Prize (...) winner. He exemplifies Lotman’s notion of a mobile hero, one who powered the course of history, but whose present-day political and social activity is of an empty and querulous nature, lacking a goal and deeper meaning, while the actions he performs take place within a closed semantic field. He is an example of a paradoxical hero, whose actions no longer generate tensions or build a new semiotic quality. Wałęsa’s problem is the ossification of his discourse and failure to perceive that transformation has already taken place. (shrink)

This book critically investigates the notion of democracy without demos by unravelling the link that modern history has established between the concepts of democracy and the sovereignty of the people. This task is imposed on us by globalization. The individualization of the subject of rights is the result of the destruction of regimes of special rights of ancient societies by the centralizing action of a territorial power. This individualization, because it implies equality, has created a new form of (...) class='Hi'>political subjectivity that has been the driving force of the democratization of democracies during the 19th and 20th centuries. Democracy and subjective rights discusses how asserting itself as the only guarantor of rights, the modern state has also nationalized citizenship. However, the author argues, the legal and judicial monopoly of the nation-state is weakened today by the multiplication and heterogeneity of the powers on which the rights of individuals depend. This situation forces us to denationalize citizenship without sacrificing, however, the specific form of political subjectivity that the individualization of rights has made possible. (shrink)

The article explores the historicity of political subjecthood, making the case that through a process of subjectification “subjects of the king” gradually became the political subjects of the state. This in turn contributed to reconstitute the state as an abstract notion that nevertheless was real through the allegiance owed to it by its subjects. Addressing the making of subjecthood in relation to state formation helps fill an important lacuna in the literature on state formation, namely the double oversight (...) of subjecthood. Either studies of state formation have taken both territory and subjecthood—the two objects of state power—for granted, or, more recently, they have assumed that changes in subjecthood were a function of changes in territoriality. I propose to address this by inquiring into early modern subjecthood in its own right, through a historical exploration of the emergence of political subjecthood in English statutes during the Tudor period (1485–1602). Through gradual yet incremental changes in the relation between subject/king and subject/state, the political subject’s allegiance to the state changed and acquired a “taken-for-grantedness”—maintained and reinforced through constant legal reiteration. (shrink)

The article explores the historicity of political subjecthood, making the case that through a process of subjectification “subjects of the king” gradually became the political subjects of the state. This in turn contributed to reconstitute the state as an abstract notion that nevertheless was real through the allegiance owed to it by its subjects. Addressing the making of subjecthood in relation to state formation helps fill an important lacuna in the literature on state formation, namely the double oversight (...) of subjecthood. Either studies of state formation have taken both territory and subjecthood—the two objects of state power—for granted, or, more recently, they have assumed that changes in subjecthood were a function of changes in territoriality. I propose to address this by inquiring into early modern subjecthood in its own right, through a historical exploration of the emergence of political subjecthood in English statutes during the Tudor period. Through gradual yet incremental changes in the relation between subject/king and subject/state, the political subject’s allegiance to the state changed and acquired a “taken-for-grantedness”—maintained and reinforced through constant legal reiteration. (shrink)

Section one : Situations. Death and dialogue -- The impossibility of settled rule -- The singular subject -- Terror, politics, and the subject -- What is resistance? -- A rebel's vision -- Section two : positions. The labour of memory -- Towards a theory of the constituent power -- Possibilities of our trans-national citizenship -- Empire, globalisation, and the subject.

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ExcerptModernity has been identified with progress and with the idea of progress.1 The identification of progress as fact and idea conceal a two-fold problematic: the nature of time and the subject being characterized. If progress is its characteristic, the subject cannot in turn be said to be in fact progressing, and if it is not, it will be indiscernible from regression. This is not unrelated to modernity construing itself as distinct, distinguishing itself from the past while, at the (...) same time, defining such distinction only in the possibility of (self-)cancellation, i.e., opening an unanticipated future. In this lies the impasse…. (shrink)

A theory of the emergence of the subject of world politics.

How does our understanding of the reality (or lack thereof ) of race as a category of being affect our understanding of racism as a social phenomenon, and vice versa? How should we envision the aims and methods of our struggles against racism? Traditionally, the Western political and philosophical tradition held that true social justice points toward a raceless future—that racial categories are themselves inherently racist, and a sincere advocacy for social justice requires a commitment to the elimination or (...) abolition of race altogether. This book focuses on the underlying assumptions that inform this view of race and racism, arguing that it is ultimately bound up in a “politics of purity”—an understanding of human agency, and reality itself, as requiring all-or-nothing categories with clear and unambiguous boundaries. Racism, being organized around a conception of whiteness as the purest manifestation of the human, thus demands a constant policing of the boundaries among racial categories. Drawing upon a close engagement with historical treatments of the development of racial categories and identities, the book argues that races should be understood not as clear and distinct categories of being but rather as ambiguous and indeterminate (yet importantly real) processes of social negotiation. As one of its central examples, it lays out the case of the Irish in seventeenth-century Barbados, who occasionally united with black slaves to fight white supremacy—and did so as white people, not as nonwhites who later became white when they capitulated to white supremacy. Against the politics of purity, Monahan calls for the emergence of a “creolizing subjectivity” that would place such ambiguity at the center of our understanding of race. The Creolizing Subject takes seriously the way in which racial categories, in all of their variety and ambiguity, situate and condition our identity, while emphasizing our capacity, as agents, to engage in the ongoing contestation and negotiation of the meaning and significance of those very categories. (shrink)

With his characteristic wit, Zizek addresses the burning question of how to reformulate a leftist project in an era of global capitalism and liberal-democratic ...

A collection of essays representing diverse approaches to feminist ethical analysis of social policy. Subjects include the Family and Medical Leave Act, combat exclusion and the role of women in the military, unwed fathers' rights, mail-order brides, pornography, breast implants, and sex-selective abortion. Paper edition (unseen), $17.95. Annotation copyrighted by Book News, Inc., Portland, OR.

In this article, I respond to Laury Naranch’s and Mary Caputi’s discussion of my book Power and Feminist Agency in Capitalism (2017). In response to Naranch, I clarify how the political subject-in-outline translates into collective political action through the figure of the Chicana working-class woman. I also explain why the proletariat, more so than the precariat, implies a radical political imaginary if we rethink this concept in the context of my idea of the political (...) class='Hi'>subject-in-outline. I also clarify that my chapters on Marx expose how Adorno and Marx have problematic imaginations of the working-class woman, which counter their otherwise radical imaginary. In response to Caputi, I clarify the meaning of capitalism in my book and underline that we need a rigorous critique of capitalism to counter the rise of the Far Right. I also explain why the fluid subject does not have agency and why the subject-in-outline is a better way to theorize transformative feminist agency. I also clarify that my conception of feminist political subjectivity does not assume a privileged vantage point outside power structures. (shrink)

How does our understanding of the reality (or lack thereof ) of race as a category of being affect our understanding of racism as a social phenomenon, and vice versa? How should we envision the aims and methods of our struggles against racism? Traditionally, the Western political and philosophical tradition held that true social justice points toward a raceless future--that racial categories are themselves inherently racist, and a sincere advocacy for social justice requires a commitment to the elimination or (...) abolition of race altogether. This book focuses on the underlying assumptions that inform this view of race and racism, arguing that it is ultimately bound up in a "politics of purity"--an understanding of human agency, and reality itself, as requiring all-or-nothing categories with clear and unambiguous boundaries. Racism, being organized around a conception of whiteness as the purest manifestation of the human, thus demands a constant policing of the boundaries among racial categories. Drawing upon a close engagement with historical treatments of the development of racial categories and identities, the book argues that races should be understood not as clear and distinct categories of being but rather as ambiguous and indeterminate (yet importantly real) processes of social negotiation. As one of its central examples, it lays out the case of the Irish in seventeenth-century Barbados, who occasionally united with black slaves to fight white supremacy--and did so as white people, not as nonwhites who later became white when they capitulated to white supremacy. Against the politics of purity, Monahan calls for the emergence of a "creolizing subjectivity" that would place such ambiguity at the center of our understanding of race. The Creolizing Subject takes seriously the way in which racial categories, in all of their variety and ambiguity, situate and condition our identity, while emphasizing our capacity, as agents, to engage in the ongoing contestation and negotiation of the meaning and significance of those very categories. (shrink)

This book aims to re-think the way in which the subject is inscribed in the modern political, and does so by exploring the potentiality of Lacano-Deleuzian theoretical framework. It concerns a different ontology and a non-dualist understanding of political and legal existence, by focusing on questions such as _how to think alternative notions of political existence_ and _what kind of political, social and legal order do these come to create. _ This investigation into political (...) appearance of subjects through concepts of law, body and life is led and influenced by the thought of Gilles Deleuze and Jacques Lacan, as well as Alain Badiou, Antonio Negri and Slavoj Žižek. The book takes on various conceptualisations of life, explores the relationship between law and life and develops an alternative notion of legal and political existence in particular in the context of rights. On the back of Guantánamo’s legal and political discourses this work aims to show why and how the problems of world politics or the limitations of rights discourse require an engagement with questions such as what it means to exist as a human being, what forms of life are politically recognised, which are not, and why this distinction. By pointing to a different ontology for thinking and understanding global politics and demonstrating how a trans-disciplinary and philosophical approaches can foster the debates in world politics, this book will be of interest to postgraduates and scholars working on critical normative ideas in international politics, critical security studies and critical legal studies. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

: This paper responds to the sense of "crisis" or "trouble" that dominates contemporary feminist debate about the categories of sex and gender. It argues that this perception of crisis has emerged from a fundamental confusion of theoretical and political issues concerning the implications of the sex/gender debate for political representation and agency. It explores the sense in which this confusion is manifest in a debate between Seyla Benhabib and Judith Butler.

This paper responds to the sense of “crisis” or “trouble” that dominates contemporary feminist debate about the categories of sex and gender. It argues that this perception of crisis has emerged from a fundamental confusion of theoretical and political issues concerning the implications of the sex/gender debate for political representation and agency. It explores the sense in which this confusion is manifest in a debate between Seyla Benhabib and Judith Butler.

RESUMO Neste artigo pretendemos refletir acerca da constituição do sujeito político a partir de dois conceitos específicos: rosto e cena de dissenso. Nosso argumento pretende evidenciar como, ao “aparecerem”, os indivíduos produzem uma cena polêmica de enunciação na qual se desencadeia um processo de subjetivação política e de criação de formas dissensuais de comunicação e performance que inventam modos de ser, ver e dizer, configurando outras interfaces entre experiência estética e política. Tal processo potencializa a invenção de novas visualidades e (...) interlocuções nas quais se inscreve o rosto, definido aqui como o vestígio de um lugar do outro que se transforma na promessa do meu próprio lugar, assumindo caráter político e comunicacional, num processo incessante de subjetivação política em que ética e estética se tangenciam. ABSTRACT The aim of this article is to ponder on the constitution of the political subject from two specific concepts: the face and the scene of dissensus, in order to show how the “appearance” of the individuals can produce a controversial scene of dissensus, trigger a process of political subjectivation and the creation of dissensual forms of expression and communication that invent new ways of being, seeing and saying, configuring new ways of collective enunciation and interconnections between aesthetic experience and politics. This is related to the invention of new visualities and interlocutions in which the face is inscribed. Face is defined here as the vestige of a place of the other that is transformed into the promise of my own place, assuming a political and communicational character, in an incessant process of political subjectivation where ethics and aesthetics are related. (shrink)

“정치적인 것” 또는 “정치적임”(the political)은 칼 슈미트 정치이론에서 핵심적 역할을 하는 개념이다. 친구와 적을 실존적으로 구분하는 것을 이 개념논리의 핵심으로 간주하고, 모든 서구 근대 국가정치이론의 권력개념의 근간을 서구신학에서 찾고 있는 슈미트의 정치신학적 사유는 많은 논란과 함께 오랫동안 널리 논의되고 다양하게 해석되어 왔다. 한편, 우리는 자칭 최고형태의 형이상학이자 철학운동의 한 형태인 후썰현상학 체계 전반을 관통하는 일종의 “구조적 정치성”이 있음을 발견한다. 특히 후썰식 현상학적 주체와 비판 개념의 형이상학적 이론구조는 “정치적”이라는 개념으로 표상되고 파악되는 특성을 분명히 보이고 있다. 이러할 때, 우리는 슈미트식 정치 (...) 개념과 논리가 우리가 후썰현상학의 형이상학적 움직임을 구조적으로 동기적으로 추동하고 있는 것으로 보고 있는 그 정치성을 드러내게 하는데 유용한 관찰과 분석의 도구적 틀을 제공할 수 있음을 본다. 이 논문은 후썰이론 전반에 걸쳐 중심적인 이론적 역할을 담당하는 현상학적 주체-원험(原驗)적 초월자 주체(transcendental ideal subject) — 에 존재론적 ․ 구조적으로 내재하고 있는 일종의 분명한 정치적성(politicality)을 가시화하고자 하며, 그 작업에서 슈미트를 어떻게 전략적으로 유용할 수 있는지 보여주고자 한다. (shrink)

The paper presents Amartya Sen’s critique of the anthropological model that underlies the conception of neoclassical economics, in order to present the conception of subject offered by the abilities approach and then the notion of development as freedom.

This paper elaborates a theory of ‘unbecoming’ to explore how a queering of the subject might transform oppressive social conditions. In this analysis of the subject’s deconstructive relation to the law I take up the interpellation scenario forwarded by Louis Althusser and Judith Butler’s theory of performativity to argue that being ‘unbecoming’ potentially not only alters subjectivity, it also alters the very law that hails the subject into being. First, I deconstruct both subject and law in (...) their relation to each other as performatives, for it is at this threshold of undecidability that the possibilities for political transformation emerge. Second, I demonstrate the creative and transformative political force of queer performativity to show that our agency as political beings lies not merely in affirmative representations of identity. Political agency also emerges in the creative force of a becoming that is also an unbecoming, where in and through our abjection from the social order we critique and transform it. (shrink)

Cornelius Castoriadis understood history as a self-creating order. In turn, he elaborated history in two directions: as the political project of autonomy, and as the ontological modality of the social-historical. On his account, history as self-creation was only possible through the interplay of social (or political) imaginaries and social doing. Although social imaginaries are readily situated within the non-subjective field, non-subjective modes of doing have been less explored. Yet non-subjective contexts are integral to both the “doing” and “imaginary” (...) dimensions of the human condition, and form the preconditions for concrete varieties of social and political action and politics (as la politique), more generally. The present paper begins to clear a path to reflect on social doing in its non-subjective aspects; as such, it is preparatory rather than programmatic. After briefly reviewing the field of “social imaginaries”, it reflects on Castoriadis’s elaboration of “praxis” and “teukhein”. It then considers Johann Arnason’s culturological reconfiguration of Castoriadis’s approach, and Jan Patočka’s asubjective phenomenology of the movement of human existence as different ways of engaging with the problematic of doing, instituting society and political imaginaries. Despite a gradual subordination of “doing” to “signification” in Castoriadis’s philosophical elaborations, “social doing” as a non-subjective modality does not disappear altogether from his thought – especially and explicitly in respect to the phenomenon of instituting society as a political project – and remains a point of recurring intrusion into his more explicit theoretical concerns. (shrink)

El artículo presenta la crítica de Amartya Sen al modelo antropológico que subyace a la concepción de la economía neoclásica (sobre todo en sus versiones utilitarista y de la elección racional), para exponer luego la concepción de sujeto que ofrece el enfoque de las capacidades y la noción del desarrollo como libertad.

ABSTRACTIn this article I offer a critical analysis of the spatial cultures of modern Athens through the urban portraits presented in three fictive stories by Vangelis Raptopoulos—“At the Bottom of...

In Ethics–Politics–Subjectivity, Simon Critchley takes up three questions at the centre of contemporary theoretical debate: What is ethical experience? What can be said of the subject who has this experience? What, if any, is the relation of ethical experience to politics? Through spirited confrontations with major thinkers, such as Lacan, Nancy, Rorty, and, in particular, Levinas and Derrida, Critchley finds answers in a nuanced “ethics of finitude” and defends the political possibilities of deconstruction. Democracy, economics, friendship, and technology (...) are all considered anew in Critchley’s bold excursions on the meaning and value of recent French philosophy. (shrink)

This article examines the emergence of a ‘financial subject’ in the transformation of the UK economy since 1979, using a critical realist approach to subjectivity that investigates underlying causal mechanisms and structures as they affect daily life. Financial restructuring, including widespread borrowing and increasing personal investment, has forged links between finance markets and personal finance, as workers’ wages are financialized. This engenders entrepreneurial subjectivity, with individuals interpellated to be self-reliant in managing possible risks. It argues that the process of (...) subjectivation, where individuals recognize themselves and their goals relative to financial markets, exemplifies the development of financialization itself, since it gives an insight into the successful reproduction of social relations of finance. It illustrates the instability related to wages and inequality, as some subjects have to contend with unpredictable employment prospects as potential future risks that complicate the practices of personal investment and borrowing, creating new hierarchies bound up with the financialization of the economy. (shrink)

Despite All Critique (2014) -- World Politics and Western Reason (1980) -- The Doubled Outsides of the Modern International (2005) -- The Subject of Security (1995) -- The Protection of Nature and the Nature of Protection (2005) -- Social Movements/World Politics (1994) -- Europe is Not Where It is Supposed to Be (2000) -- They Seek it Here, They Seek it There : Looking for Politics in Clayoquot Sound (2003) -- Violence, Modernity, Silence : From Weber to International Relations (...) (1993) -- Hobbes, Origins, Limits (2011) -- War, Terror, Judgement (2002) -- International, Imperial, Exceptional (2005) -- Which Democracy for Which Demos? (2013) -- The Political Theory of Boundaries and the Boundaries of Political Theory : Interview With Raia Prokhovnik (2012). (shrink)

In The Ethics of Food, Gregory E. Pence brings together a collection of voices who share the view that the ethics of genetically modified food is among the most pressing societal questions of our time. This comprehensive collection addresses a broad range of subjects, including the meaning of food, moral analyses of vegetarianism and starvation, the safety and environmental risks of genetically modified food, issues of global food politics and the food industry, and the relationships among food, evolution, and human (...) history. (shrink)