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| 1 |
ID:
124954
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| Publication |
2013.
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| Summary/Abstract |
The contemporary Bangladeshi cinema is stained red by the enthusiastic use of fake blood that erupts from bodies pictured in fist fights, gun battles and sword attacks. In this article, I draw on my ethnographic fieldwork in the Bangladesh film industry to illustrate the spurting of fake blood in two popular film genres: mainstream action cinema and straight-to-VCD rural crime stories (kiccha pala VCDs). I suggest that the affective intensity ascribed to blood by film insiders points to the capacity of blood to lend force to the protean and submerged discourses of contemporary Bangladesh presented in these blood-splattered genres. These film forms make use of the excessive and abject quality inherent in this bodily tissue as well as interacting with more regimented and metaphoric uses of blood in the political aesthetics of contemporary Bangladesh that they recycle and pervert.
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| 2 |
ID:
122932
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2013.
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| Summary/Abstract |
This paper analyses the motives, processes, and effects of urbanisation in Korla, a small but rapidly expanding city in northwest China, where the author conducted over two years of fieldwork. The paper aims to show that the historical monuments of the urban environment are physical manifestations of a stirring, and often violent, program of ideational and socio-economic change that is directed at the periphery and all of its residents - even as some of those residents are also posed as agents of the ongoing transformation.
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| 3 |
ID:
085893
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2009.
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| Summary/Abstract |
The Federalist is commonly read as an exemplar of political realism. However, alongside Publius' arguments against the enthusiastic imagination- its tendency to inflame the passions, betray the intellect, and subvert political authority-are formative appeals to the imagination's role in reconstituting the public authority shaken during the postrevolutionary years. This essay explores three central aspects of Publius' restorative appeal to the imagination: the appeal to the public veneration required for sustaining political authority across time; the strategies for shifting citizen loyalty from the state and local level to that of a newly energized federal government; and the rhetorical elicitation of the public's imagination in aestheticized portrayals of Providential nationality. These aspects of Publius' argument make up the core of The Federalist's aesthetics of (self) rule. In each instance, Publius invokes the imagination as a heteronomic support to navigate familiar dilemmas of democratic self-authorization.
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| 4 |
ID:
166756
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We most commonly encounter the word defiance when used as an adverb to classify a peculiarly courageous or risky act of resistance. However, the use of the word defiance in this way is a departure from the historical meaning of the word. Moreover, it occludes the possibility that there exists political activity that is manifestly defiant. The article takes issue with this tendency and identifies a mode of resistance that is explicitly defiant. In order to do this, the paper draws from the phenomenological approach underpinning the standing sculptures of the British sculptor Antony Gormley. This informs an exploration of the protest enacted by the standing man of Taksim Square, who participated in a large antigovernment movement in Turkey in 2013. In acts we might distinguish as defiant, the paper demonstrates the materialist vulnerability of the protesting body, the aesthetic ontology at work, the prevalence of the standing metaphor, the role of silence, and the absence of futurity. By unearthing defiant modes of protest, the heterogeneity of resistance is affirmed, and a new domain where art encounters the political is revealed.
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