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Street and theatre at the end of Fordism

transformation of the documented experiences: the aging and natural death of Holocaust survivors, a shift in the immigrant experience from temporary working arrangement to permanent family resettlement, the deindustrialization of urban areas, and the industrialization of agriculture.9 Memorial work, the forging of a link between present and past, kept the recent past present before it could slip away. The figure of the saltimbanque, so prominent in the name of the 1973 Aix-en-Provence festival and in the discourse of street theatre throughout the 1970s, operates somewhat

in Street theatre and the production of postindustrial space

explicit representation, such as the exclusion of issues of race, gender or class altogether from philosophy or political science classes. Another example that Halberstam discusses is a course he taught on the Holocaust, where he showed the film Nuit et brouillard [Night and Fog] (1955, dir. Alain Resnais), with brutal imagery of dead, naked, piled-​up bodies, to the students’ shock,  41 Vulnerability in the trigger warning debates 41 while they were captivated by and wanted to see more of Triumph des Willens [The Triumph of the Will] (1935, dir. Leni Riefenstahl), a

in The power of vulnerability

16/2/09 9:25 AM Page 108 Drama new home in a new country, though the ghosts of their past may still haunt them. Kuti’s play subtly conveys the horror of the Holocaust and its impact on the survivors. The play repeatedly makes use of the interconnected symbols of the ark and the treehouse. Both evoke sanctuaries, ways of hiding and/or escaping from threats/others. But as Anna McMullan rightly perceives, these interrelated symbols are highly ambiguous as Eva and Magda also use their respective treehouses to keep the others out, to exclude. This prompts her

in Irish literature since 1990
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decisions they wish based upon whatever information is technologically available at that time. As we have already argued though, this is to ignore the end-states of market exchange and to invoke an anti-social libertarianism that is reminiscent of Nozick (1974). Given the prejudices that too many people hold, this ‘anything goes’ approach might open the floodgates to the casual holocaust that those such as Shakespeare warn us against. Finally, we could apply a regulated approach. This attempts to both reduce suffering and respect the diversity of human experience

in After the new social democracy
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complicity in the ills of the modern world, and the need for affirmative resources if motivation for change of all kinds, from the political to the personal, is to be generated. This leads him into paradigmatic difficulties, which reveal much about why aesthetics has been such a contentious area of recent debate. When Adorno claims, for example, that ‘The aesthetic totality is the antithesis of the untrue totality’, his assertion depends upon there being a wholesale opposition between the state of a world seen in the light of the Holocaust and of the continuing dominance of

in The new aestheticism

Alienation from Kant to Derrida and Adorno (Cambridge: Polity, 1992), pp. 1–2. 7 Ibid., p. 2. 8 Ibid. 9 See especially their exhaustive and rigorous work Truth, Fiction and Literature (Oxford: Oxford University Press, 1994). 10 At the same time, Heidegger’s own Nazism reveals the worst that this idea can imply. For a longer discussion of this, in relation to the work of Hannah Arendt and Philippe LacoueLabarthe, see my forthcoming The Holocaust and the Postmodern. 11 D. O. Dahlstrom, Heidegger’s Concept of Truth (Cambridge: Cambridge University Press, 2001), p. 17. 12 Ibid

in The new aestheticism
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Between Adorno and Heidegger

linear development of the line, of meaning and value, and of time, a term borrowed from the technical performance of Hoelderlin’s poetry, a standstill makes way for the invention or arrival of order. As Lacoue-Labarthe puts it, concerning holocaust: ‘That is why this event – Extermination – is for the West the terrible revelation of its essence.’35 However, there are no controls over what may arrive in the moment of standstill, with its implied condition of destitution. Thus for Lacoue-Labarthe, Heidegger’s much disputed silence after Auschwitz is required by the

in The new aestheticism
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of thanks she had quite forgotten how furious they were with their driver, who rushed them away too early.) hH Alessandra Comini is one of a growing number of women academics writing memoirs. Some of the books, like hers, are accounts of an intellectual or political life, told in personal terms. Other writers have told stories of their lives as Holocaust survivors, or as children of survivors. For some, the nature of memoir and autobiography is the point of the work, which both contributes to the academic study of life-writing and at the same time tells the reader

in Austerity baby

conducted. This is supposed to assure the traditional register of politics and security, and to confirm and stabilise its validity and relevance. 19 Jenny Edkins arrives at similar conclusions, although she responds primarily to the way in which tropes such as the Holocaust and Nazism have been used to articulate humanitarian concerns during the Kosovo campaign. 20

in Mapping European security after Kosovo
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Corruption, community and duty in Family Matters

, whether in realist novels of corpse-filled trains or in the magic realist midnight muddles’ (FM, 145). As with those Jews who have survived the Holocaust, there is often an urge to speak, to write, to remember: ‘What choice was there, except to speak about it again and again, and yet again’ (FM, 145). Something in the act of telling itself brings balm. In fact, religion may be simply another of those consoling fictions mitigating the loneliness and horror of life: Roxana tells the growing, and hence sceptical, Jehangir that Nariman has died and is now in heaven being

in Rohinton Mistry