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ID:
164496
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| Summary/Abstract |
Over the last 30 years, post-structuralist, feminist and other IR theorists have asked questions of the ways in which discourses on sovereignty seek to foreclose political possibility. To do so, they have advanced a decentralised, contested, incomplete and relational understanding of politics that presupposes some sort of intersubjective agency, however fragmented. There is one site, however, that appears to confound this line of argument insofar as it is commonly understood to exemplify an entirely non-relational, anti-political ‘desolation’: the concentration camp. Drawing on feminist theory to establish the terms of an aesthetic mode of ‘interruption’, this article will identify a compelling challenge to this position in a comic book drawn by Horst Rosenthal, a German–Jewish detainee at Gurs in Vichy, France, who was later killed at Auschwitz–Birkenau. Rosenthal’s piece will be read as an ‘aesthetic interruption’ that mounts a powerful critique of the logic underpinning his concentrationary experience, and in so doing demonstrates one way in which (to however painfully limited a degree) the political might be ‘brought back in’ to discussions about sovereign power.
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| 2 |
ID:
174026
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| Summary/Abstract |
Asaf Hanuka’s autobiographical comic strips collected into one album, The Realist, chronicle everyday episodes in the life of a young Israeli family. The silent nature of many of the panels brings forth the gap between the idea and the praxis. We investigate silence in relation to both genre and Israeliness in order to examine what silence promotes and to what extent it serves the narrative better than sound or words when generating criticism, displaying helplessness, coping with traumatic events, etc. Our six case studies are conducted in the framework of both silence theories and multimodal discourse theories.
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