69 found

Year:

  1.  2
    No Less Poetry Than Thought.Chiara Alfano - 2018 - Angelaki 23 (5):60-76.
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  2.  1
    I Looked Out and Nature Was Gone.Dan Disney - 2018 - Angelaki 23 (5):48-59.
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  3.  7
    Neoliberal Epistemology and the Truth in Fake News.Ricky D’Andrea Crano - 2018 - Angelaki 23 (5):11-31.
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  4.  1
    Editorial Introduction.Salah El Moncef - 2018 - Angelaki 23 (5):1-2.
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  5.  1
    Judgment and Shock Esthetic in the Twitter Age.Salah El Moncef - 2018 - Angelaki 23 (5):3-10.
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  6.  5
    There is a Place Where Terror is Good.Sean J. Kelly - 2018 - Angelaki 23 (5):112-128.
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  7.  1
    Reification.Matthew J. Smetona - 2018 - Angelaki 23 (5):32-47.
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  8.  1
    Medieval Cultures and Modern Crises.Luke Sunderland - 2018 - Angelaki 23 (5):77-93.
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  9.  3
    The Best Doctor for My Soul.Thomas F. Tierney - 2018 - Angelaki 23 (5):94-111.
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  10.  1
    Phasmid Thinking : On Georges Didi-Huberman’s Method.Emmanuel Alloa & Christopher Woodall - 2018 - Angelaki 23 (4):103-112.
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  11.  1
    He or She Who Glimpses, Desires, is Wounded.Barbara Baert - 2018 - Angelaki 23 (4):47-79.
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  12. Searching for Fireflies.Stijn De Cauwer - 2018 - Angelaki 23 (4):133-149.
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  13. Critical Image Configurations.Stijn De Cauwer & Laura Katherine Smith - 2018 - Angelaki 23 (4):1-2.
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  14. La Dama Duende [the Phantom Lady].Georges Didi-Huberman & Christopher Woodall - 2018 - Angelaki 23 (4):25-41.
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  15.  2
    Image, Language.Georges Didi-Huberman, Elise Woodard, Jorge Rodriguez Solorzano, Stijn De Cauwer & Laura Katherine Smith - 2018 - Angelaki 23 (4):19-24.
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  16. Eyes Wide Open.Robert Harvey - 2018 - Angelaki 23 (4):91-102.
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  17. Images Re-Read.Jacques Rancière, Elise Woodard, Jorge Rodriguez Solorzano, Stijn De Cauwer & Laura Katherine Smith - 2018 - Angelaki 23 (4):11-18.
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  18. The People-Image.Ludger Schwarte & Christopher Woodall - 2018 - Angelaki 23 (4):80-90.
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  19. Re-Imagining the “Loss of Place”.Laura Katherine Smith - 2018 - Angelaki 23 (4):113-132.
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  20. The Readability of Images of History.Sigrid Weigel, Michiel Rys & Jan Vanvelk - 2018 - Angelaki 23 (4):42-46.
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  21. White Noise, Écriture Blanche.William S. Allen - 2018 - Angelaki 23 (3):28-41.
    Le Dernier Homme is Blanchot’s last narrative or récit. Afterwards, he would begin to write in a more fragmentary mode, which suggests that he may have felt that the narrative form had been pushed as far it could in this work. This point of extremity is marked in particular by the monotonous style for which he has become notorious. This essay examines why this style arises, and how it leads to an extreme that can be usefully contrasted with Barthes’s notion (...)
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  22. Sonic Booms in Blanchot.David Appelbaum - 2018 - Angelaki 23 (3):144-157.
    Blanchot’s rejection of vision as the fundamental philosophical metaphor is well known: “Seeing is not speaking” 25). Furthermore, his central idea of the limit-experience is a “detour from everything visible and invisible”. As part of his Heideggerian heritage, the increased importance of hearing lacks the critical appraisal it deserves. Pari passu for voice. Blanchot’s investigation of voice, spoken, interior, literary, is extensive. Various works of fiction, notably The One Who Was Standing Apart From Me, explore the meme, which is intensified (...)
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  23. Orpheus and the Vanishing Note.Charlie Blake - 2018 - Angelaki 23 (3):178-193.
    It is by now something of a commonplace for readers of Blanchot to claim that the limpid quality of his prose and the wealth of allusion woven through even his more opaque writings often have the paradoxical effect of making his work both engagingly lucid and approachable and utterly resistant to interpretation or even comprehension in any ordinary sense. At the core of this paradoxical experience is a theory of creativity that Blanchot frequently alludes to and often appears to be (...)
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  24. The Homage to Debussy at the Théâtre Des Champs-Elysées.Maurice Blanchot & Michael Holland - 2018 - Angelaki 23 (3):10-13.
    Michael Holland presents an early and little-known article by Maurice Blanchot, whose subject is the memorial concert in honour of Claude Debussy which took place in Paris in June 1932, following the unveiling of a monument to the composer earlier in the day. Blanchot provides a detailed account of the concert, emphasising the international co-operation that lay behind the expression of national pride, and arguing, against the grain of contemporary opinion, that the pure art of music transcends any notion of (...)
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  25.  1
    The Call of the Disaster at the Borderland of Silence.Leslie Anne Boldt - 2018 - Angelaki 23 (3):125-143.
    Blanchot’s Thomas the Obscure and Death Sentence are marked by the imperative to hear the call of night, of darkness, and death. In each work, the ear is enlisted to undermine the prominence accorded to the eye. If sight is essential to measure and confirm the space separating subjects from objects or subjects from other subjects, Blanchot introduces hearing as a way to collapse this protective distance. The border between inside and outside becomes porous, and the subject is no longer (...)
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  26. Dispersion in Sound.François J. Bonnet & Alain Toumayan - 2018 - Angelaki 23 (3):88-93.
    The premise of this brief study is an examination of the conditions in which a decentering can occur in the Blanchotian manner of the experience of listening to music. Through an exploration of these conditions of decentering, and taking as an example the first scene of the narrative Thomas the Obscure, the text probes the very notion of music, its presuppositions and prerogatives, in order to construct subsequently the hypothesis of a music free from any polar structure, of a music (...)
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  27.  1
    Rumors of the Outside.Jeff Fort - 2018 - Angelaki 23 (3):158-177.
    Blanchot often evoked the silence required for literary writing, a silence which he says must “be imposed” on a pre-existing and indistinct murmur of language. Likewise, he evokes this murmur itself as an originary ground of all speech, including literary speech. Less often recognized are the ways in which he also locates this murmur in the realm of public speech and everyday language, the rumor of speech spoken by no one and by everyone, a realm which he in turn links (...)
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  28. Blanchot and the Resonant Spaces of Literature, Sound, Art and Thought.Greg Hainge - 2018 - Angelaki 23 (3):94-111.
    This article sets out to think through the double absence of literary language posited by Blanchot in L’Espace littéraire in the shadow cast by a consideration of Alvin Lucier’s piece I am sitting in a room and the sound installation practice of Bernhard Leitner. What I wish to suggest is that a consideration of these sound works enables us to identify a parallelism in the mechanics of the literary sign that creates the space of literature in Blanchot and the phenomenological (...)
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  29. In the Absence of Noise, Nothing Sounds.Paul Hegarty - 2018 - Angelaki 23 (3):112-124.
    Blanchot took Mallarmé’s “Book” as the paradigm for an artwork that aspired to such excess it could not exist. And yet it partly did, in the form of the poem Un coup de dés jamais n’abolira le hasard. For Blanchot, this ultimate literary work acted as a model for a relentless deconstructing not just of what existed but also of that which did not. His emptying theoretical perspective is ideally suited to analyse the phenomenon that is harsh noise wall music. (...)
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  30. Aesthetic Autophony and the Night.Stefanie Heine - 2018 - Angelaki 23 (3):58-74.
    When Blanchot sketches the obscure space of the other night, he describes it primarily in terms of sound. The vocation of the other night, the domain of inspiration, which is approached because it promises to enable artistic works but ultimately puts them at the utmost risk, turns out to be one’s own “eternally reverberating echo.” In my article, I want to trace how such nocturnal sounds are articulated in works of art across different media, especially by staging breath. Echoing Blanchot, (...)
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  31.  1
    Affects, Indexes and Signs.William Large - 2018 - Angelaki 23 (3):75-87.
    Usually, when we determine the authenticity of a performer in popular music then we do so either through their biography or their inherence within a tradition. The question of authenticity then becomes one of betrayal. This article argues that there might be a unique way of approaching authenticity through affects, where authenticity is impersonal rather than personal. It uses the work of Pierre Schaeffer to describe the difference between indexes and signs on the one hand, and affects on the other, (...)
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  32.  2
    From Dialectics to the Diabolical.Vivian Liska - 2018 - Angelaki 23 (3):14-27.
    In “Ars Nova,” a short essay written in 1963, Blanchot defends the “new music” of Arnold Schönberg and his school against its critics and hails it as an exemplary contestation of culture conceived as an attempt to conceal the groundlessness of human existence. The fragmentary and dissonant nature of the “new music” has the power to unmask culture’s pretence of order, meaning and harmony. It embodies the potential of modernist art to unsettle all established conventions standing in the way of (...)
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  33. Sounds of Disaster.Adam Potts - 2018 - Angelaki 23 (3):1-2.
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  34.  1
    Passive Noise.Adam Potts - 2018 - Angelaki 23 (3):42-57.
    This paper aims to establish a distinction and relationship between two types of noise – active noise and passive noise – while giving emphasis to the latter. Active noise is the discourse of negativity and violence that some theorists associate with noise’s materiality, an association particularly pronounced in engagements with Japanoise. The problem with this discourse is that it relies on a culturally normative understanding of noise as well as novelty. This narrative inevitably leads to a dead end. Noise, and (...)
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  35. Blanchot and Sound.Adam Potts - 2018 - Angelaki 23 (3):3-9.
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  36.  10
    Foucault, Psychoanalysis, and Critique.Amy Allen - 2018 - Angelaki 23 (2):170-186.
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  37.  9
    The Misadventures of the “Problem” in “Philosophy”.Giuseppe Bianco - 2018 - Angelaki 23 (2):8-30.
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  38.  3
    An Anti-Positivist Conception of Problems.Sean Bowden - 2018 - Angelaki 23 (2):45-63.
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  39.  6
    Problems in Twentieth-Century French Philosophy.Sean Bowden & Mark G. E. Kelly - 2018 - Angelaki 23 (2):1-1.
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  40.  3
    Problematizing Problems.Sean Bowden & Mark G. E. Kelly - 2018 - Angelaki 23 (2):2-7.
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  41.  2
    Cavaillès, Mathematical Problems and Questions.Pierre Cassou-Noguès - 2018 - Angelaki 23 (2):64-78.
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  42.  8
    Lautman on Problems as the Conditions of Existence of Solutions.Simon B. Duffy - 2018 - Angelaki 23 (2):79-93.
    Albert Lautman (b. 1908–1944) was a philosopher of mathematics whose views on mathematical reality and on the philosophy of mathematics parted with the dominant tendencies of mathematical epistemology of the time. Lautman considered the role of philosophy, and of the philosopher, in relation to mathematics to be quite specific. He writes that: ‘in the development of mathematics, a reality is asserted that mathematical philosophy has as a function to recognize and describe’ (Lautman 2011, 87). He goes on to characterize this (...)
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  43.  2
    Problematizing the Problematic.Mark G. E. Kelly - 2018 - Angelaki 23 (2):155-169.
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  44.  4
    On the Problem and Mystery of Evil.Jill Hernandez - 2018 - Angelaki 23 (2):113-124.
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  45.  7
    Problematization in Foucault’s Genealogy and Deleuze’s Symptomatology.Colin Koopman - 2018 - Angelaki 23 (2):187-204.
  46.  2
    Bergson’s Method of Problematisation and the Pursuit of Metaphysical Precision.Craig Lundy - 2018 - Angelaki 23 (2):31-44.
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  47.  16
    The Errors of History.Alison Ross - 2018 - Angelaki 23 (2):139-154.
    This paper critically evaluates Foucault’s relation to Bachelard and Canguilhem. It reconsiders the relevance of the concept of “influence” for treating this relation in order to register the more sceptical position Foucault adopts towards knowledge practices than either of these figures from twentieth-century French epistemology.
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  48.  3
    Towards a Phenomenology of Sagesse.Matthew Sharpe - 2018 - Angelaki 23 (2):125-138.
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  49.  5
    Simondon on the Notion of the Problem.Daniela Voss - 2018 - Angelaki 23 (2):94-112.
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  50.  2
    Capote’s Frozen Cats.Michael P. Bibler - 2018 - Angelaki 23 (1):116-130.
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  51.  6
    Queer Objects.Guy Davidson & Monique Rooney - 2018 - Angelaki 23 (1):3-4.
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  52.  3
    Queer Objects.Guy Davidson & Monique Rooney - 2018 - Angelaki 23 (1):1-2.
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  53.  1
    Cooper’s Queer Objects.Marcie Frank - 2018 - Angelaki 23 (1):131-143.
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  54.  1
    Library Trolls and Database Animals.Melissa Hardie - 2018 - Angelaki 23 (1):48-60.
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  55.  1
    Eve Sedgwick’s “Other Materials”.Scott Herring - 2018 - Angelaki 23 (1):5-18.
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  56.  1
    Tom Ripley, Queer Exceptionalism, and the Anxiety of Being Close to Normal.Victoria Hesford - 2018 - Angelaki 23 (1):102-115.
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  57.  2
    Solid Objects and Modern Tonics, or, Who’s Afraid of the Big Camp Woolf?Alexander Howard - 2018 - Angelaki 23 (1):32-47.
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  58.  1
    On Ray Johnson's Sexuality, Loves, and Friendships.Benjamin Kahan - 2018 - Angelaki 23 (1):85-87.
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  59.  1
    Ray Johnson’s Anti-Archive.Benjamin Kahan - 2018 - Angelaki 23 (1):61-84.
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  60.  1
    Medea's Perineum.So Mayer - 2018 - Angelaki 23 (1):188-193.
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  61.  2
    Feral with Vulnerability.Kaye Mitchell - 2018 - Angelaki 23 (1):194-198.
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  62.  2
    The Shameless Performativity of Camp in Patrick White’s the Twyborn Affair.Jackson Moore - 2018 - Angelaki 23 (1):88-101.
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  63.  5
    Theory and the Everyday.Monica B. Pearl - 2018 - Angelaki 23 (1):199-203.
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  64.  2
    Queer Objects and Intermedial Timepieces.Monique Rooney - 2018 - Angelaki 23 (1):156-173.
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  65.  3
    Ephemeraphilia.Gillian Russell - 2018 - Angelaki 23 (1):174-186.
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  66.  5
    On Being a Good-Enough Reader of Maggie Nelson's the Argonauts.Jackie Stacey - 2018 - Angelaki 23 (1):204-208.
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  67.  3
    Objects of Desire.Nikola Stepić - 2018 - Angelaki 23 (1):144-155.
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  68.  4
    In the Margins with the Argonauts.Robyn Wiegman - 2018 - Angelaki 23 (1):209-213.
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  69.  2
    Acts Against Nature.Elizabeth A. Wilson - 2018 - Angelaki 23 (1):19-31.
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