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| 1 |
ID:
169165
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| Summary/Abstract |
Central to the conception of this article is the architectural theorist Bernard Tschumi's dictum, ‘There is no architecture without action, no architecture without events, no architecture without program … no architecture without violence.’ Shaped as well by Eyal Weizman's conception of ‘forensic architecture’, the focus of the investigation is on Israel's architecture of security and on the corresponding Palestinian architecture of resistance. Emphasising an encounter of cartographies that reveals the way Palestinians make life livable in response to the architectural violence they face, the analysis continues with reference to Yari Sharif's analysis of architectures of resistance and with a reading of a feature film, Hany Abu-Assad's Omar (2013) in which the Separation Wall between Israel and Palestine is one of the film's primary agent/protagonists. The article surveys popular culture texts, focused on crime and espionage to analyse a range of security practices and breaches that amplify the analysis with attention to security issues in individual households, multiple-person dwelling arrangements, architectural locations throughout cities, and buildings housing governmental security agencies. That trajectory of architectural sites lends a micropolitical analysis to the macropolitical level of governmental policy and modes of resistance to it.
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| 2 |
ID:
122650
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2013.
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| Summary/Abstract |
This article is a commentary on Elizabeth Dauphinee's book The Politics of Exile. Its focus is on her displacement - her dual sojourn that is, on the one hand, a physical migration (from Canada to Bosnia for research) and, on the other, a genre migration (from academic to literary writing). The main part of the analysis situates Dauphinee's contribution among the Balkans War reflections of diverse exilic artists from the former Yugoslavia (writers and a film director), and the article ends by situating Dauphinee's method within two analytics: Jacques Rancière's concept of indisciplinarity and Cesare Casarino's concept of philopoesis.
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| 3 |
ID:
138974
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| Summary/Abstract |
The Wire (five seasons, 2002–2008) takes place in Baltimore, an urban venue that is distinguished by diverse modes of violence and alienation – the colour line, tensions between governmental bureaucracy and citizen, between policing executives and investigators, between corporate-oriented drug dealers and individual (take-no-prisoners) dealers, and in general between aspiring change-agents and entrenched power holders. And most significantly for this analysis, The Wire explores what Robert Crooks identifies as the new “urban frontier.” The older frontier (in “the West”) is depicted in Deadwood (three seasons, 2004–2006). That frontier, as Cronon, Miles, and Gitlin point out, was, at the outset of the Euro American–Native American encounter, a space of negotiation, a space in which institutionalised regionalisation had not yet been installed.
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| 4 |
ID:
164730
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| Summary/Abstract |
This special issue focuses on the Pakistan-Afghanistan borderland. It collects a set of articles that return in different ways to the common theme of “politics on border.” It makes a series of interdisciplinary forays to make the Pakistan-Afghanistan border politically more legible. The borderland is presented from multiple methodological approaches and critical perspectives. It focuses on certain hitherto untouched or least debated dimensions of this border, for instance the status of women in the border-culture, the concept of alienage in the making of border, extensions and manifestations of the border, and political aesthetics of the border.
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| 5 |
ID:
092060
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2009.
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| Summary/Abstract |
This article locates the contemporary security climate of the city of Los Angeles within a historical trajectory of modes of securitization. While some of the analysis treats the material and technological aspects of cities in general, and Los Angeles in particular, much of my emphasis, articulated in readings of both literary and film versions of police procedurals, is on discursive barriers. Ultimately, I suggest that, materially and discursively, urban America features class and ethnic fault lines that serve as the primary bases of security management.
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| 6 |
ID:
095803
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2010.
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| Summary/Abstract |
I welcome the opportunity to be inspired and challenged by Manfred Steger's scholarship on ideology at the time of a rising global imaginary. My initial (and appreciative) response in this introduction is drawn from Gilles Deleuze's response to Michel Foucault's masterwork, Discipline and Punish, where he calls Foucault 'a new cartographer'. Drawing on his notion of the diagram, Deleuze suggests that Foucault has altered the topology within which power has traditionally been understood. To understand power, we can no longer 'accept a limited localization'.1 Rather, Foucault maps 'the concrete assemblages of school, workshops, army, etc.' along with 'finalized functions' that carry 'on right up to the state, which strives for global integration, at least in the form of a universalized Market place'.
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| 7 |
ID:
051012
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| Publication |
New York, Routledge, 2004.
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| Description |
xix, 258p.Hbk
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| Series |
Global Horizons Series
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| Standard Number |
0415945313
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Copies: C:1/I:0,R:0,Q:0
Circulation
| Accession# | Call# | Current Location | Status | Policy | Location |
| 047984 | 700.103/SHA 047984 | Main | On Shelf | General | |
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| 8 |
ID:
078774
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2007.
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| Summary/Abstract |
Mapping the `new violent cartography', an inter-articulation of geographic imaginaries and antagonisms, based on models of identity-difference, this article begins with the analysis of a piece of photo-journalism, an image of a US soldier in a bombed-out bunker during the war in Afghanistan, and goes on to trace the institutions that are part of the contemporary aspects of militarization and securitization constituting the `war on terror'. The article ends with an analysis of the anti-war impetus of cinema and the cinematic spaces of film festivals
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| 9 |
ID:
152757
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Cambridge, Polity Press, 2016.
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| Description |
xv, 196p.pbk
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| Standard Number |
9781509507818
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Copies: C:1/I:0,R:0,Q:0
Circulation
| Accession# | Call# | Current Location | Status | Policy | Location |
| 059043 | 320.01/SHA 059043 | Main | On Shelf | General | |
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| 10 |
ID:
106185
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2011.
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| Summary/Abstract |
After reviewing conceptual contributions that address the blurred boundary between the war and home fronts and the complexities of contemporary political topologies in general, I turn to a reading of three artistic texts—the photomontages of Martha Rosler, Paul Haggis’s film In the Valley of Elah, and Annie Proulx’s story, “Tits-Up in a Ditch”—to analyze the war front–home front relationship. I end with some reflections on the analytic contributions of montage techniques in terms of the way they establish equivalences that revalue our perspectives on the locations and actualities (presences) of war.
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