In this chapter I invite the reader to consider the philosophical assumptions which underpin the early career aims and objectives of Barrie Kosky. A focus will be his “language” of opera, and the processes by which the audience is prompted to interpret it. The result will be to see how Kosky creates mystery and meaning while avoiding fantasy and escapism; and can express psychological truth while stimulating subjective interpretations. The point will be to show that Kosky’s oeuvre demonstrates a central (...) concept in the Kantian tradition of aesthetic theory regarding the key process in creative expression, and that is the evocation/communication of “aesthetic ideas”. (shrink)

In contrast to Judith Herman, who understands incest exclusively in terms of power, Judith Butler insists on the importance of the child’s love for our understanding of incest. Butler’s thinking in this respect is suggestive but underdeveloped, while also holding considerable implications for how we might understand the role of violence in social life. This article develops and assesses her thinking on the child’s love and its relation to the question of violence and trauma more generally. At issue is the (...) question of how we are to understand violence. Is it always motivated? Is it always destructive? And finally are there limits to what can be understood? (shrink)

Long histories and entrenched habits of inattention among advantaged groups mean that even minor challenge and concession can provoke subjective perceptions of victimization. How, in such conditions, might claims of structural injustice break through? Drawing on field work with practitioners across conflict mediation, therapy, education, and performance – four sectors that facilitate listening in fraught contexts yet are undertheorized in politics – this article makes the case that among the most overlooked and powerful resources for cultivating receptivity and responsiveness among (...) advantaged groups are the arts of listening. Practices of engagement across these sectors establish listening as potent rather than passive, given the extent to which it constitutes the field of encounter and shapes what emerges within it, both in terms of expression and, more significantly in this context, receptivity of those to whom one listens. Yet this also means that how one listens is a pivotal consideration – particularly when listening might serve to reinforce and normalize unjustly dominant positions. In contrast to progressive politics’ emphasis on finding more forceful forms of voice and conventional reliance on direct communicative practices, this article explores how specific comedic, theatrical, and embodied tactics can generate ‘oblique forms of listening’ potentially useful to social justice struggles. (shrink)

The point of departure of this article is that hospitality in education has not been theorized in terms of emotion and affect, partly because its law have been discussed in ways that have not paid much attention to the role of emotion and affect. The analysis broadens our understanding of the ethics and politics of hospitality by considering it as a spatial and affective relational practice. In particular, concepts from affect theory such as the notion of affective atmospheres and atmospheric (...) walls are discussed to highlight the notion of affective hospitality. It is argued that a greater awareness of the micro-politics of hospitality in its everyday enactment in various educational settings can show educators how specific practices of hospitality work to produce affective spaces in which the socio-historical context of privilege may be interrupted. The paper concludes with a discussion of the ethical, political and pedagogical implications of affective hospitality. (shrink)

This article analyzes the photographic exhibit Yuyanapaq: Para Recordar, which was a product of the Peruvian Truth and Reconciliation Commission. It focuses specifically on the curatorial process and political desires shaping Yuyanapaq, and it examines the ways in which photographs were intended to intervene in and script a national consciousness and shared memory during and after Peru’s transition process. Exploring across the three iterations of Yuyanapaq, I ask how we might attempt to bear witness to past conflict without inadvertently perpetuating (...) its logic. (shrink)

Recent work on trauma, especially in the field of Holocaust studies, has tackled the question of how the “generation after” relates, and relates to, the trauma of its immediate ancestors as it navigates between the poles of remembrance and appropriation. Other studies have shifted focus towards the effects of trauma upon narration, in part through critiquing the prevailing psycho-analytic model of trauma as an unrepresentable event that evades/forecloses language. Aeschylus’ Suppliants, with its chorus of fifty female Danaids who react to (...) their traumatic present by recourse to tales of the traumatic past of their ancestor Io and her son Epaphos, offers a productive stage for testing the applicability of these theoretical frames to the genre of ancient Greek tragedy. The Danaids’ turn to the past explores the agency of an ancestral trauma that reaches into their present, and in doing so highlights the unsteady inheritance of trauma both for those who relate and for those who witness these acts of testimony. The act of supplication itself is defined in part by physical contact between the suppliant and the supplicandus, yet this ritual emphasis on touch is amplified by the play’s consistent focus upon a series of real and hypothesized touches, from the traumatic to the salvific. Through this engagement with the haptic context of trauma and traumatic recall, Aeschylus’ play proposes an enlarged aetiology of touch—across cognitive, affective, and physical registers—for the ritual of supplication itself. (shrink)

This paper examines the competing ‘languages’ of line in Julie Mehretu’s series, Grey Area (2007–9) and elaborates on the implications these lines have for theories of space, bodies and, in particular, the relationship between the two. Grey Area explores what Mehretu describes as a grey and in-between space. The series is composed of seven large abstract canvases covered in an assortment of gestural tracings and neatly traced rational lines (e.g. architectural lines). The juxtaposition of these competing linely narratives not only (...) creates a grey space visually, but compels viewers to stretch their bodies across the canvases and between the lined layers thus, facilitating a brief inhabitance of grey space. Building from this analysis, the paper reflects on the relevance of the lines and the stretching they elicit for examining the complexities of contemporary modes of inhabitation that often extend across multiple geographical sites and temporal modes. Thus, engaging with Mehretu’s lined abstractions draws attention to the importance of space in the production of bodily boundaries, what I call geographical and temporal bodily outlines. In addition to contributing to body-space theories, the paper also demonstrates the valuable insights gained by attending to the unique social-aesthetic analyses of visual art and artists. (shrink)

How can educators and their students interrogate the ethics and politics of suffering in ways that do not create fixed and totalized narratives from the past? In responding to this question, this essay draws on J. M. Coeetze’s Disgrace, and discusses how this novel constitutes a crucial site for bearing witness to the suffering engendered by apartheid through inventing new forms of mourning and community. The anti-historicist stance of the novel is grounded on the notion that bearing witness to suffering (...) without betraying it means refusing to represent it, that is, refusing to translate history and speak of it; instead, the novel’s characters remain inconsolable before history. The essay builds on these ideas and considers whether educators and their students need to (re)learn the limits of historicism in comprehending conflict, oppression, otherness and suffering; also, it examines the educational implications of such a pedagogical task. (shrink)

Current notions of affect are often underpinned by unacknowledged assumptions about spontaneity, materiality and immediacy. Childhood, which has traditionally been associated with these concepts (and for this reason has not been much debated within critical theory), helps us reconsider the political impact of affect theory. This is both because feminist theory has recently reconceptualized childhood and because positing affect as moments of intensity immanent to matter raises a number of problems from a feminist point of view. A passage from Mrs. (...) Dalloway (illustrating how childhood works as a mimetic break within the project of literary modernism) will introduce an analysis of excerpts from Lisa Cartwright and Eve Kosofsky Sedgwick, two feminist case studies in which affect and childhood are linked. Referring to past psychoanalytical and political debates (especially by Jacqueline Rose, Juliet Mitchell and Walter Benjamin) that have anticipated some of the problems we are currently facing within feminist theory, the article investigates through childhood the politically problematic role of affect as ‘the new’ in critical theory. (shrink)

The aim of this dissertation is to critically investigate and problematize how museum exhibitions on Difficult Matters, like war and sexual violence, can be designed in order to contribute to teaching-learning relations between museum and visitor, which may transform existing perceptions of self, others, and the world and evoke a deepened sense of responsibility in the viewers, i.e. an ethical transformation.Based on a hermeneutic phenomenological approach the study takes three paths to shed light on the above. 1) Investigating literature on (...) museum studies on New Museology and Difficult Matters on the basis of which the research maps out current problems of understanding the pedagogical and ethical potentials. 2) From conducting case studies of two specific exhibitions to make an in-depth examination of designing exhibitions on Difficult Matters and how these are related to contextual conditions. 3) Investigating pedagogical theoretical literature inspired by the philosopher Emmanuel Levinas and literature in feminist philosophy on ethics of vulnerability all closely linked to the case studies, the study develops a conceptual basis for understanding the practice of designing exhibitions on Difficult Matters. A main finding is that designing exhibitions on Difficult Matters is related to the condition of vulnerability and this demands a pedagogical perspective sensitive to the ethical implications of exhibition making. This is because evoking ethical transformation is conditioned by a teaching-learning relation, which inspires openness on the part of the visitor to an encounter with the other and her/his life-story as being different from existing perceptions - an openness which is defined by vulnerability. As a result, vulnerability is at the heart of exhibitions on Difficult Matters.The overall conclusion to be drawn from the study is that vulnerability is a key concept in museum pedagogy and that vulnerability is an ambivalent potentiality which must be addressed from a double perspective on vulnerability as being inherent to the human condition and dependent on the particular situation. Consequently, vulnerability calls for pedagogical considerations and ethical attention from museum professionals, when designing exhibitions on Difficult Matters. (shrink)

This essay takes the performance artworks of Tehching Hsieh as instructive allegories for a global ethics as theorized by a variety of left academics who ground universalism in a singularity that escapes the predicates of identity. Hsieh's projects, I argue, also place universal estrangement in the service of liberation for particular marginalized groups whose lives confound our fantasies of recognition. At the same time, they illustrate some of the challenges facing attempts to treat particular struggles as embodiments of universal conflicts.

As is made evident in Rosalyn Deutsche’s recent book, Hiroshima After Iraq, Hiroshima keeps returning through the way diverse artistic genres evoke parallels between the bombing of Hiroshima and subsequent atrocities. After contrasting US and Japanese perspectives on the event of the bombing and drawing on Walter Benjamin’s concept of temporal plasticity (while at the same time heeding the relationship between presence and grammar), this essay ponders the future anterior of Hiroshima, its continuous will-have-beens, as new films and re-analyses of (...) older ones (especially Hiroshima Mon Amour and The Cats of Mirikitani) continue to restage its significance. (shrink)