The ideas of economists and political philosophers, both when they are right and when they are wrong are more powerful than is commonly understood. Indeed, the world is ruled by little else. Practical men, who believe themselves to be quite
conditions, immigrants can acquire formal citizenship. 1 In particular, they examine the politics that shape these policies. In the early 1990s, when Israel began to absorb waves of non- olim immigrants, it witnessed the emergence of a new phase in the
Jeffrey B. Griswold
Recent political scholarship on Macbeth has turned away from the play's topical significance to consider how it imagines the political abstractly. Whereas the critical conversation of the past thirty years has fruitfully examined the play
Julia Pascal’s The Yiddish Queen Lear
displays that contemporary Jewish responses to the playwright are not limited to the discussions of Merchant alone. In terms of the use of themes such as ‘(political) disillusion and defeat [that are more central to Lear] than any other play by
Hollie MacKenzie and Iain MacKanzie
In this article we focus on the potential for an alignment of certain feminist artistic practices and poststructuralist conceptions of critique that may enable ways of theorizing practices of resistance and engender ways of practicing resistance in theory, without the lurch back into masculinist forms of dogmatism. It will be claimed that an ontological conception of art, considered as that which makes a difference in the world, can not only challenge the primacy of the dogmatic and masculine ‘subject who judges’, but also instill ways of thinking about, and ways of enacting, feminist artistic encounters with the capacity to resist dogmatism. The theoretical stakes of this claim are elaborated through complimentary readings of Deleuze and Guattari’s constructivist account of philosophy and Irigaray’s feminist explorations of what it means to think from within the 'labial', rather than from the position of the dominant phallic symbolic order. We argue that this creative conjunction between Irigaray, Deleuze, and Guattari provides the resources for a conceptualisation of both feminist artistic practice and the critical practice of poststructuralist philosophy as forms of resistance to the dominant patriarchal order, in ways that can avoid the collapse back into masculinist forms of dogmatism. Revel’s discussion of the role of constituent rather than constituted forms of resistance is employed to draw out the implications of this position for contentious politics. It is concluded that constituent practices of resistance can be understood as a challenge to the phallogocentric symbolic order to the extent that they are practices of a labial art-politics.
The author argues that conceptual history is becoming increasingly indispensable due to the historical trend in political practices to move from a politics of answers to given questions to a politics of thematizing the questions themselves, that is, of agenda-setting. The very understanding of a certain question as contingent and controversial marks a politicizing change in the agenda. From the perspective of the history of concepts, the formulation of questions themselves become politically key issues, given that rhetorical problems of the renaming and reinterpretation of the meaning, significance and normative color of concepts play a key role in the decisions regarding inclusion and exclusion. Assuming that concepts function as “pivots” in the contemporary controversy, there is at least some possibility for change in terms of rendering the controversy intelligible by means of the instruments of conceptual history. If conceptual history were ever to play a direct political role, it might concern teaching politicians the styles of both a conceptual reading of politics and a political reading of the uses of concepts.
Beyond Explicit Motivations and Oppositional Actions
Sadiya Akram and David Marsh
Wood and Flinders re-center political participation on the idea of “nexus politics.” The effort is laudable because it contributes to other ongoing efforts at broadening our understanding of the nature of ‘political’ participation. Unfortunately, in our view, the authors misspecify new forms of political participation that have emerged by: (1) failing to take Henrik Bang’s work seriously; (2) focusing exclusively on motivation/intention, so that an action is “political,” only if the person acting sees it as “political”; (3) seeing all political participation as necessarily oppositional.
While there has always been intellectual and methodological overlap between conceptual historians and political theorists, scholars in both fields have recently gone further to foster a greater degree of cross-pollination. 1 In particular, the
observes that the focus upon the sentiment of the filial sonnets has obscured their political concerns. 2 What has not been noticed is the sonnets’ politics of sentiment. These sonnets about Harrison’s inarticulate, reticent working-class family link
Reflections on Violence in the 'War on Terror'
Saul Newman and Michael P. Levine
The authors argue that the 'war on terror' marks the ultimate convergence of war with politics, and the virtual collapse of any meaningful distinction between them. Not only does it signify the breakdown of international relations norms but also the militarization of internal life and political discourse. They explore the 'genealogy' of this situation firstly through the notion of the 'state of exception'—in which sovereign violence becomes indistinct from the law that is supposed to curtail it—and secondly through Foucault's idea that politics is essentially a form of warfare. They suggest that these two ways of approaching the question of violence can only be understood through a racist dimension, which forms the hidden underside of the 'war on terrorism'. In other words, our contemporary situation is characterized by the mobilization not only of fundamentalist and conservative ideologies, but, increasingly, racial antagonisms and prejudices directed towards the Muslim other.