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III. The Poetics and Politics of Rambling in Iain Sinclair ’s Hackney, That Rose-Red Empire Sinclair’s scenography is the microcosm of a London borough called Hackney. The title of his book is a combination of the grandeur intended by the borough’s Town Hall and the rose red color and name of the music hall, the Hackney Empire. The former represents (for Sinclair) the city council’s undesired interference in Hackney’s future, while the latter stands in for Hackney’s cultural heritage.1 That Rose-Red Empire is born out of the conflict between the city

marxistisch orientierten Ära Stuart Halls – sowie in den ohnehin weniger politisierten deutschen Kulturwissenschaften etwa mit einer post politics-Situation zu tun? Gemeint ist eine Situation, in der »the political terrain to the sphere of consensual governing and policy-making« verengt wird, »centered on a technical, managerial and consensual administration (policing) of environmental, social, economic or other domains« (Swyngedouw 2011: 77). Entwerfen analog dazu nicht auch die Kulturwissenschaften ihre Theorien als Rahmenmo- delle einer Konsensbildung, mit der

Fantasy without Fantasy: Politics, Genre, and Media in the Fiction of M. John Harrison FRED BOTTING Fantasy without fantasy is a phrase adapted from the writer M. John Harrison and used to address the inter-implication of genre and politics. The gesture of subtracting fantasy from fantasy highlights a differential articulation (fantasy- realism/fantasy-reality) which leaves neither pairing clearly separated according to a conventional division of fiction and reality. Furthermore, it engenders ques- tions of fantasy’s relationship to language

Riding Emotions The Motorcycle as a Vehicle of Political E/Motions in Rachel Kushner’s Novel The Flamethrowers NORA BERNING From zero to two hundred, turn right to go right. From two hundred to three hundred, turn left to go right. Faster than three hundred, turn right to go right. R. KUSHNER, THE FLAMETHROWERS, 125. 1. INTRODUCTION: EMOTION, LITERATURE AND MOVEMENT Originally denoting a public disturbance in the 16th century, the word ‘emotion’ (from French émotion, from émouvoir ‘excite’ based on Latin emovere) has, since the 1980s

Socialism in One Person: Specter of Mar x in Octavio Paz’s Political Thought1 Yvon Grenier If infl uence is omnipresent in literature, it is also, one should emphasize, always secondary in any work of quality. Salman Rushdie2 When reminiscing on his intellectual and political itinerary, Octavio Paz (1914-98) never failed to recognize his debt to Karl Marx. He routinely presents the German philosopher (he would say: historian) as one of the two or three thinkers who infl uenced him the most (see for instance Paz 1994d: 258). In the fi fteen tomes of his

2 Are You Paranoid Enough? Kathryn Bigelow’s Strange Days and the Politics of Risk and Speculation 2.1 RISK INSIDE THE “FICKLE MACHINE” When Strange Days was released in 1995 its director Kathryn Bigelow and production firm Twentieth Century Fox had to face a box office disaster nobody could have predicted. The film grossed less than eight million dollars, despite a number of constituents that, at the time of its making, must have appeared particularly promising, as Romi Stepovitch observes: “With a headlining actor in Ralph Fiennes, a blockbuster

4 Monstrous Politics: Epistemological Empowerment, Natural Science, and New Territories of Empire in Larissa Lai’s Salt Fish Girl 4.1 “THE IDENTITY OF THE BODY HAS NOT YET BEEN CONFIRMED:” EXCESSIVE TEXTUALITY AND DISCURSIVE CONTROL IN LARISSA LAI’S WRITINGS In a talk given at a workshop dedicated to the re-mapping of Canadian urban activism in 2004,1 Canada-based, Chinese American author, political activist and prolific academic Larissa Lai strikingly chose as a title “The Identity of the Body Has Not Yet Been Confirmed,” a formulaic phrase

Politolinguistische Perspektiven auf Argentinien, Brasilien und Mexiko
Series: Lettre
Über die (Un-)Möglichkeit, von Folter zu erzählen
Series: Lettre
On Standards, Justice, and Incomparability