Titlebook: Violence and the Limits of Representation; Graham Matthews (Lecturer),Sam Goodman (Honorary F Book 2013 Palgrave Macmillan, a division of

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Sadeian Women: Erotic Violence in the Surrealist Spectacle,rative offers itself to the senses, the viewer is prompted to narrativise it or set the scene in response. A creased tablecloth crumples as a contorted, fleshy body materialises from beneath. She (for this curvaceous, blushing nude prompts us to read it as feminine) appears to hold a burning solar o

Mystic

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,‘Skeletons of Solid Objects’: Imperial Violence in J.G. Farrell’s ,,mate of the 1970s, Farrell’s work has too often been eclipsed by the fashions of the age, lost amidst the showiness of his postmodern contemporaries or in the magical realism that followed him. Further, Farrell’s arguably finest work was in that distinctly unfashionable of genres, the historical nov

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Bernstein-test

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Objects of Surprise: Violence, Security, and Metaphysics,litics. If, as Foucault famously suggested, the guiding concept for the distribution of power was discipline, governance, and order, Agamben states that the distribution of power has operated on an exceptional basis; the securing of disorder: ‘What used to be one among several decisive measures of p

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The Violence of Representation and the Representation of Violence,violence is essential to representation, to language, and to the image. It is ‘empirical’ violence, or representations thereof, that is derivative and secondary, or serves to conceal or distract from this ‘fundamental’ violence. The result is that violence isn’t simply at the limits of representatio

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,Violence and Love (in Which Yoko Ono Encourages Slavoj ?i?ek to ‘Give Peace a Chance’), to the cultural revolution, though suggesting that it failed to achieve a sufficiently radical upheaval in social relations. I will return to this discussion later in this chapter. For now, I want to stress ?i?ek’s emphasis on the tough love of the revolutionary, indeed on the importance of regardi

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,Demarcating Violence in the Dramaturgy of Lisa McGee’s ,,as a reflection of the fact that this case exposed the individualist and infantalised society associated with consumerism, ‘a(chǎn)n environment of the infant “me,” where it is difficult to grow into the adult “us”’.. Thus the Bulger case prompted immediate creative responses to the questions of morality,

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