Homo Sacer: Power, Life, and the Sexual Body in Old French Saints' Lives

Exemplaria ◽  
2006 ◽  
Vol 18 (2) ◽  
pp. 233-273 ◽  
Author(s):  
Emma Campbell
Keyword(s):  
2014 ◽  
Author(s):  
Katya Viswanadhan ◽  
Ami Shah ◽  
Katherine L. Kivisto ◽  
Laura Widman ◽  
Deborah P. Welsh

2019 ◽  
Author(s):  
Christoffer Dharma ◽  
Ayden I. Scheim ◽  
Greta R. Bauer
Keyword(s):  

2019 ◽  
Vol 3 (2) ◽  
pp. 109-122
Author(s):  
Cita Mustika Kusumah

This research aims to describe and give an overview of the use of sexual euphemism in pop and hip hop lyric songs to avoid taboo words which are usually unfreely to mention in public. The researcher uses qualitative method and descriptive method to analyze the data. The researcher uses forty songs consist of twenty pop songs and twenty hip hop songs to be analysed. From forty songs, the researcher finds ninety seven data. Researcher believes the data are found to contain sexual euphemism in the utterance that included in pragmatic study.Researcher describes and analyzes every single of data that are included the theory of Allan and Buridge (1991). From the research data, the researcher found that there is a differential usage of sexual euphemism in pop and hip hop which is sexual euphemism in sexual activity appears more frequently in pop songs and sexual euphemism in sexual body parts appears more frequently in hip hop songs. Both pop and hip hop songs use representative speech act more frequently than directive speech act. Euphemism was used in the lyrics to avoid words that are considered taboo in some communities.Keywords: speech act, sexual euphemismINTRODUCTIONIn


Author(s):  
Mårten Björk
Keyword(s):  

The philosophy of Plotinus plays a contradictory role in Giorgio Agamben’s corpus. He comments on Plotinus in a lapidary fashion in several articles and essays before commencing the Homo Sacer series, where he undertakes a longer and more ambiguous analysis of Plotinus in Opus Dei and The Use of Bodies. In Opus Dei, Agamben develops the brief criticism of Plotinus he proposed in The Kingdom and theGlory in order to describe the crucial instance when Western metaphysics starts to designate being as operativity: ‘The place and moment when classical ontology begins that process of transformation that will lead to the Christian and modern ontology is the theory of the hypostases in Plotinus’ (OD 58). Agamben is referring to the development in the Enneads of the idea of the three hypostases of being – the One, the Soul and the Intellect – from which the whole complex of reality emanates.


Author(s):  
Mika Ojakangas
Keyword(s):  

There are not many books by Agamben in which Plato does not figure. In The Man Without Content (MC 52–64), Agamben discusses the Platonic discrepancy between politics and poetry; in Stanzas, he examines Plato’s conceptions of love (S 115–21) and phantasm (S 73–5); in Infancy and History (IH 73), Agamben takes up Plato’s concept of time (aion and chronos), while in The End of the Poem (EP 17) he examines Plato’s criticism of tragedy. In Language and Death (LD 91–2), he gives an account of Socrates’ ‘demon’ and Plato’s Idea (eidos) – though he investigates the latter more thoroughly in Potentialities (PO 27–38), in which he also briefly touches upon Plato’s doctrine of matter (khôra) (PO 218). In Idea of Prose (IP 120–3) and The ComingCommunity (CC 76–7), it is the Platonic Idea again that is under scrutiny, albeit more implicitly than in Potentialities. In Homo Sacer (HS 33–5), Agamben offers an interpretation of Plato’s treatment of Pindar’s nomos basileus fragment and the sophistic opposition between nomos and physis, whereas in The Sacrament of Language (SL 29) he touches on Plato’s critique of oath. In The Signature of All Things (ST 22–6), Agamben gives an account of Plato’s ‘paradigmatic’ method, while in Stasis (STA 5–12) we find an analysis of Plato’s conception of civil war (stasis).


2013 ◽  
Vol 35 (1) ◽  
pp. 25-45 ◽  
Author(s):  
Luke Donahue
Keyword(s):  

This article asks if we can learn anything new about the perhaps tired ‘debate’ between deconstruction and historicism by placing Derrida's The Beast and the Sovereign beside Agamben's Homo Sacer. While Derrida underscores many of Agamben's shortcomings and metaphysical assumptions, he submits Homo Sacer to critique rather than deconstructing (or reading) it. If we fully engage Homo Sacer, I argue, then we can track a peculiar history in which the trace ‘itself’—the trace which has no itself and thereby opens historicity in the first place—faces absolute disappearance. More precisely, while it would seem that differences can never absolutely disappear since they are the (disappearing) remains of their own disappearance, there are perhaps some erasures that destroy ahead, that destroy even and especially their ability, in the future, to return as ghosts or repeat in a different form. I conclude by suggesting that these ‘absolute erasures’—similar but not reducible to what Derrida calls ‘ash’ or ‘cinder’—introduce a historicity of difference that has remained unread.


Somatechnics ◽  
2011 ◽  
Vol 1 (1) ◽  
pp. 87-123 ◽  
Author(s):  
Sherene H. Razack

Paul Alphonse, a 67 year-old Aboriginal died in hospital while in police custody. A significant contributing factor to his death was that he was stomped on so hard that there was a boot print on his chest and several ribs were broken. His family alleged police brutality. The inquest into the death of Paul Alphonse offers an opportunity to explore the contemporary relationship between Aboriginal people and Canadian society and, significantly, how law operates as a site for managing that relationship. I suggest that we consider the boot print on Alphonse's chest and its significance at the inquest in these two different ways. First, although it cannot be traced to the boot of the arresting officer, we can examine the boot print as an event around which swirls Aboriginal/police relations in Williams Lake, both the specific relation between the arresting officer and Alphonse, and the wider relations between the Aboriginal community and the police. Second, the response to the boot print at the inquest sheds light on how law is a site for obscuring the violence in Aboriginal people's lives. A boot print on the chest of an Aboriginal man, a clear sign of violence, comes to mean little because Aboriginal bodies are considered violable – both prone to violence, and bodies that can be violated with impunity. Law, in this instance in the form of an inquest, stages Aboriginal abjection, installing Aboriginal bodies as too damaged to be helped and, simultaneously to harm. In this sense, the Aboriginal body is homo sacer, the body that maybe killed but not murdered. I propose that the construction of the Aboriginal body as inherently violable is required in order for settlers to become owners of the land.


Somatechnics ◽  
2012 ◽  
Vol 2 (1) ◽  
pp. 60-79 ◽  
Author(s):  
Jackie Wykes

When the Farrelly brothers' movie Shallow Hal (2001) was released, one reviewer suggested that the film ‘might have been more honest if [it] had simply made Hal have a thing about fat women’ ( Kerr 2002 : 44). In this paper, I argue that Kerr hits the mark but misses the point. While the film's treatment of fat is undoubtedly problematic, I propose a ‘queer’ reading of the film, borrowing the idea of ‘double coding’ to show a text about desire for fat (female) bodies. I am not, however, seeking to position Shallow Hal as a fat-positive text; rather, I use it as a starting point to explore the legibility of the fat female body as a sexual body. In contemporary mainstream Western culture, fat is regarded as the antithesis of desire. This meaning is so deeply ingrained that representations of fat women as sexual are typically framed as a joke because desire for fat bodies is unimaginable; this is the logic by which Shallow Hal operates. The dominant meaning of fatness precludes recognition of the fat body as a sexual body. What is at issue is therefore not simply the lack of certain images, but a question of intelligibility: if the meaning of fat is antithetical to desire, how can the desire for – and of – fat bodies be intelligible as desire? This question goes beyond the realm of representation and into the embodied experience of fat sexuality.


Sign in / Sign up

Export Citation Format

Share Document