Disembodiment examines self-destruction, self-injury, and radical self-endangerment as unconventional performances of resistance and refusal. Banu Bargu troubles the dominant approach that treats these acts as individual pathologies, cries for help, and signs of despair, taking the reader on an unsettling journey that passes through the suicides of enslaved Africans, the hunger strikes of woman suffragists, Gandhian fasting practices, Bouazizi's self-incineration, and the lip-sewing practices of migrants and asylum seekers to chart a bleak repertoire of contention performed by the oppressed. As a work in global critical theory whose normative compass is the suffering body, Disembodiment offers a bold materialist theory of corporeal agency that upholds the fundamental rebelliousness of the body.
Starve and Immolate tells the story of leftist political prisoners in Turkey who waged a deadly struggle against the introduction of high security prisons by forging their lives into weapons. Through an innovative approach that weaves together contemporary and critical political theory with political ethnography, Starve and Immolate analyzes the death fast struggle as an exemplary but not exceptional instance of self-destructive practices that should be understood as a consequence of, retort to, and refusal of the increasingly biopolitical forms of sovereign power deployed as a response to terrorism around the globe. The Turkish stateÕs pursuit of high security prisons based on cellular confinement, which would reconfigure traditional wards allowing political prisoners to live a communism in practice, led to a protracted movement in which dozens of political prisoners starved and immolated themselves. Banu Bargu chronicles the experiences, rituals, values, beliefs, ideological self-representations, and contentions of these protesters against the history of Turkish democracy and the treatment of dissent in a country where prisons have become sites of political confrontation. Bargu connects the increasing turn to self-destructive practices with the revamping of Turkish state sovereignty through a process of biopolitical securitization against terrorism. A critical response to Michel FoucaultÕs Discipline and Punish, Starve and Immolate centers on new forms of struggle that arise from the asymmetric antagonism between the state and its contestants in the contemporary prison. Bargu ultimately positions the weaponization of life as an emergent repertoire of political action, a bleak, violent, and ambivalent form of insurgent politics that seeks to wrench the power of life and death away from the modern state on corporeal grounds and increasingly theologized forms. Drawing attention to the existential commitment, sacrificial morality, and militant martyrdom that transforms these struggles into a complex amalgam of resistance, Bargu advances a critical-theoretical interpretation of human weapons that explores the global ramifications of their practices of resistance, as well as their possibilities and limitations.
Starve and Immolate tells the story of leftist political prisoners in Turkey who waged a deadly struggle against the introduction of high security prisons by forging their lives into weapons. Through an innovative approach that weaves together contemporary and critical political theory with political ethnography, Starve and Immolate analyzes the death fast struggle as an exemplary but not exceptional instance of self-destructive practices that should be understood as a consequence of, retort to, and refusal of the increasingly biopolitical forms of sovereign power deployed as a response to terrorism around the globe. The Turkish stateÕs pursuit of high security prisons based on cellular confinement, which would reconfigure traditional wards allowing political prisoners to live a communism in practice, led to a protracted movement in which dozens of political prisoners starved and immolated themselves. Banu Bargu chronicles the experiences, rituals, values, beliefs, ideological self-representations, and contentions of these protesters against the history of Turkish democracy and the treatment of dissent in a country where prisons have become sites of political confrontation. Bargu connects the increasing turn to self-destructive practices with the revamping of Turkish state sovereignty through a process of biopolitical securitization against terrorism. A critical response to Michel FoucaultÕs Discipline and Punish, Starve and Immolate centers on new forms of struggle that arise from the asymmetric antagonism between the state and its contestants in the contemporary prison. Bargu ultimately positions the weaponization of life as an emergent repertoire of political action, a bleak, violent, and ambivalent form of insurgent politics that seeks to wrench the power of life and death away from the modern state on corporeal grounds and increasingly theologized forms. Drawing attention to the existential commitment, sacrificial morality, and militant martyrdom that transforms these struggles into a complex amalgam of resistance, Bargu advances a critical-theoretical interpretation of human weapons that explores the global ramifications of their practices of resistance, as well as their possibilities and limitations.
Disembodiment examines self-destruction, self-injury, and radical self-endangerment as unconventional performances of resistance and refusal. Banu Bargu troubles the dominant approach that treats these acts as individual pathologies, cries for help, and signs of despair, taking the reader on an unsettling journey that passes through the suicides of enslaved Africans, the hunger strikes of woman suffragists, Gandhian fasting practices, Bouazizi's self-incineration, and the lip-sewing practices of migrants and asylum seekers to chart a bleak repertoire of contention performed by the oppressed. As a work in global critical theory whose normative compass is the suffering body, Disembodiment offers a bold materialist theory of corporeal agency that upholds the fundamental rebelliousness of the body.
Based on long-term ethnographic research in the art worlds of Istanbul and Berlin, The National Frame rethinks the politics of art by focusing on the role of art in state governance. It argues that artistic practices, arts patronage and sponsorship, collecting and curating art, and the modalities of censorship continue to be refracted through the conceptual lens of the nation-state, despite the globalization of the arts. By examining discussions of the civilizing function of art in Turkey and Germany and particularly moments in which art is seen to cede this function, The National Frame reveals the histories of violence on which the production, circulation, and, very understanding of art are predicated. Karaca examines this darker side of art in two cities in which art and its institutions have been intertwined with symbolic and material dispossession. The particularities of German and Turkish contexts, both marked by attempts to claim modern nationhood through the arts; illuminate how art is staked to memory and erasure, resistance and restoration; and why art has been at once vital and unwieldy for national projects. As art continues to be called upon to engage the past and imagine different futures, The National Frame explores how to reclaim art’s emancipatory potential.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.