Facing Precarity single work   criticism  
Issue Details: First known date: 2016... 2016 Facing Precarity
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AbstractHistoryArchive Description

'Also sprach Judith Butler in an interview with David Runciman on Talking Politics, a podcast recorded at the University of Cambridge in the immediate wake of Donald J. Trump’s election to President-elect.1 Among her myriad incisive remarks, the final line in the passage above is illuminating—although not because it is incisive. It offers no cool-headed explanation for Trump’s ascension (that is something Butler does elsewhere in the interview). Instead, it conveys Butler’s desire to avoid facing Trump, an admission as candid as it is non-intellectualised (in the Freudian sense of “intellectualisation”). And it is illuminating precisely because it so straightforward, and acknowledges so openly perhaps what is power’s most frightening and abject dimension: its visual dimension, and particularly the visual image of its “face.”' (Publication abstract)

Notes

  • Epigraph: But what was interesting was that we all dispersed before the final announcement was made, because we didn’t want to hear it, and we didn’t want to see it. We all knew it was coming, but we didn’t want to see the fanfare, we didn’t want to see the ceremony, we certainly, I think, didn’t… want to see Trump’s face, quite frankly.

Publication Details of Only Known VersionEarliest 2 Known Versions of

  • Appears in:
    y separately published work icon Philament Precarity no. 22 December 2016 10648450 2016 periodical issue

    'This issue of Philament, our twenty-second, embraces a range of poets, as well as writers, essayists, and reviewers. Adam Hulbert’s study of Joan Lindsay’s Picnic at Hanging Rock draws attention to the many sonic figurations in Lindsay’s novel, offering a fresh reading of the precarious fates of the protagonists in this “preeminent antipodean weird tale.” Blythe Worthy’s study of Rachel Kushner’s 2013 novel The Flamethrowers offers a timely problematisation of contemporary identity politics, illuminating new ways in which the novel “exposes feminism’s distinctive markings of precarity.” And Aleksandr Andreas Wansbrough’s essay on Lars von Trier’s Melancholia allows us to see the film’s prologue as an example of avant-garde video art. Critics will have already perceived the way in which Melancholia allegorises Earth’s cosmic precarity, revealing this planet’s vulnerability in a universe filled with other celestial bodies, all of them potential collision threats. However, Wansbrough’s essay also shows us how von Trier’s film makes genre and aesthetic categories equally precarious—elements ever threatening to collide. The issue’s short stories—Angelina Koseva’s “The Red Room” and Sian Pain’s “Wildcat”—offer intensive glimpses at precarious milieux in the contemporary cityscape, while varied works of poetry, by Philip Porter, Mona Zahra Attamimi, and Dimitra Harvey, chart their slightly more abstract courses toward this issue’s theme. As always, it is hoped that this issue encourages more scholarship on its theme, and prompts postgraduates in particular to submit to Philament’s future issues.' (From : Facing Precarity)

    2016
    pg. 1-26
Last amended 20 Jan 2017 07:34:46
1-26 Facing Precaritysmall AustLit logo Philament
Subjects:
  • Philament no. 22 December 2016 periodical issue
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