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'Perhaps the sodomites should be written out of Dante's "Inferno"', Jarman wrote in his journal on 1 August 1990: 'I'll offer myself as the ghostwriter.' What does he mean by 'ghostwriter' here? How queer is this odd speech-act? What is he offering to do to the homophobic landscape of the "Inferno", that forbiddingly sealed textual prison, with his Hollywood pitchman's casual bid to 'write out' the sodomites as if they were a slight embarrassment to the divine justice system? Is he speaking in jest as a writer of gay satires and sacrilegious memoirs, or in deadly earnest as an activist who had renounced the middle-class pretensions and frivolities of the pre-AIDS gay world? [...] Jarman counters the trope of homosexual theft visually with the triumphant figure of Man with Snake. The Dantesque merging of snake and thief is replaced by an erotic dance in which the gilded youth raises his phallic partner above his head and seductively kisses it on the mouth. Whereas Dante would have us notice the grotesque parody of the Trinity played out in the seventh bolgia - with the unchanging Puccio as God the Father, the two-natured Agnello-Cianfa as Christ, and the fume-veiled Buoso receiving his forked tongue from the serpent Francesco in a demonic replay of the gift of tongues from the Spirit - Jarman clears away all overdetermined theological meanings to revel in the purely aesthetic impact of the phallic dancer. All the ghosts from Dante's snakepit are conjured away in the film and replaced with the solid presence of a single gorgeously spotlit male body. Ghostwriting Dante, for Jarman, meant more than a mere appropriation of homoerotic scenes from the "Inferno" into his screenplay. It meant a complete reimagining of their aesthetic significance within the filmscape of his Dantean transformations.
With reference to the Marx Seminars at the University of São Paulo, this chapter discusses the creation of a specific tradition in the social sciences that marks a crucial moment in the history of postcolonial and decolonial studies. By means of the concept of periphery, I reconstruct how this tradition refuted temporal and stadial dualisms. Moreover, I argue that the development of this new perspective in the social sciences must be understood in terms of its efforts to rethink Marx but also, and more importantly, by the need to rethink Brazil's place in the world. Following this thread, I analyse Roberto Schwarz's work as paradigmatic for a proper understanding of the centrality of the concept of periphery in these discussions.
How can the Armenian genocide be considered in terms of its ecological roots and remnants? Umut Yıldırım explores the more-than-human flora and fauna indigenous to the banks of the Tigris river in Upper Mesopotamia - in particular, centenarian mulberry trees - as resistant roots that register the evidentiary ecologies of the Armenian genocide through the Turkish state's denialist present and its ongoing war against the Kurds.
In 1989 the triumphant discourse on the 'end of history' brought the death of socialism and the expansion of liberal democracy. The proclamation of the end of history could also be read literally, as the death of 'history' as a discipline with a homogenized narrative. It is in the same year that Pierra Nora wrote a groundbreaking article, which disentangled the fundamental opposition between history and memory, and at the end assumed the standpoint of memory. The article departs from the diagnosis of post-Yugoslav contemporary accounts of Yugoslav and partisan events. The critique of nationalist and Yugonostalgic discourses discloses shared assumptions that are based on the 'romantic' temporality of Nation and on history as a closed process. In the main part of the article the author works on the special, multiple temporality of partisan poetry that emerged during the WWII partisan struggle. The special temporality hinges on the productive and tensed relationship between the 'not yet existing' - the position of the new society free of foreign occupation, but also in a radically transformed society - and the contemporary struggle within war, which is also marked by the fear that the rupture of the struggle might not be remembered rightly, if at all. The memory of the present struggle remains to be the task to be realized not only for poets, but for everyone participating in the struggle. This is where the revolutionary temporality of the unfinished process comes to its fore, relating poetry to struggle, but again producing a form of poetry in the struggle.
Mafrouza is a twelve-hour-long documentary by French director Emanuelle Demoris, shot in a now-demolished neighbourhood in Alexandria, Egypt. Demoris is one of a long chain of western filmmakers who appeal to some form of 'taking one's time' as an instrument for - morally, politically, epistemologically - adequate representation. Based on the work of Trinh T. Minh-ha, Eduard Glissant, and Poor Theory, this chapter evaluates what happens when a film adopts a strategy of deferral in cases in which it is not clear how questions of 'doing justice' could be resolved. Using long duration and an insistence on the quotidian, Demoris's film forces us to think about the conditions that make pronouncements about character, situation, and narrative possible, continuously postponing the moment when it will become possible to say: 'this film is about …'. By setting itself up for failure, the film proposes one possible approach to the ethics and politics of visibility.
A series of creative non-fiction short stories based on ethnographic interviews and participant observation in Iraq from 2014–2022, Kali Rubaii's reflection asks: what is a toxic affect? In these stories, war-torn ecologies are packed with living and non-living beings that emerge in the floor of a mosque, in a graveyard, from a pillow, a toilet, and construction sites in Iraq.
Nothing beyond the name : towards an eclipse of listening in the psychotherapeutic enterprise
(2022)
What are the different kinds of reduction that take place in a psychotherapeutic discipline? This article looks at the agonistic relations between the two types of reduction that fundamentally constitute a psychotherapeutic paradigm: naming and listening. At any given moment in the history of psychological theory, various schools and theories are in contention with each other over an institutional and state legitimation that will only be granted to one or some of them. It is argued that these disciplinary contentions for a dominant status subordinate the names and concepts that populate a particular psychotherapeutic paradigm to a property regime, thereby obscuring or compromising the attention paid to forms of listening that occur on the edge of naming and meaning.
Starting from the editorial committee's proposal concerning strategies for the recognition of Global South researches, in this letter I indicate a number of broader impasses related to neoliberal academia in a context in which ecological crisis emerges as a major crisis of capital. To do so, I resort to concepts drawn from feminist, decolonial, and post-structuralist literature and bring them into dialogue with a Marxist framework of analysis.