The Good Liberal and the Scoundrel Author: Fantasy, Dissent, and neoliberal subjectivity in Philip Pullman’s His Dark Materials

Philip Pullman, author of the His Dark Materials trilogy, has acquired an impressive critical reputation and acquired a favored role in British culture as a social commentator. This essay attempts to link the pleasures associated with the trilogy with the politics inscribed in them, and consider both in the context of Pullman’s role in the civil society. The essay suggests that The Northern Lights offers pleasures in fantastical and metaphysical possibilities, and social confederacies that potentially offset the affective privations of neoliberalism. These possibilities are set in the context of recent theories of the “enterprise society.” The essay draws attention to a number of discontinuities that unfold as the trilogy progresses, and suggests that these undermine the possibilities inherent in the first novel. These disconti - nuities throw the role of fantasy and alternative universes into question, and reveal the limitations of Pullman’s fiction. The essay considers the limit and scope of Pullman’s political vision, both as a function of his fiction and his public engagement with social issues, and suggests that he exemplifies Raymond Williams’s concept of “bourgeois dissent” in which political critique and a continuing investment in traditional institutions and class hierarchy can be mutually reinforcing.

Bodily Experience and Restricted Conditions in Contemporary Art

The Doctoral research was carried out with the primary purpose of reviewing past practice designs and for identifying how body movements contributes to these designs. The context in which the body movements are understood are that of discipline enforced by culture and other physio-biological restraints. A discussion on the relationships of body experience in restricted conditions are carried out, which includes the interaction between movement and space in the application of painting, moulding, biological markers, and moving images. The discipline, socially acceptable practices and regulations present in the researcher’s personal life and culture frame the artworks and a fascinating exploration of dynamics between freedom of movement in artwork construction and restrain of behaviour has been analyzed. In the process of art production, significant points discussed were with respect to the identification, succession and repetition of habitual acts. In addition, bodily movement could be considered as a synthesis of spatiality and temporality. The key point which contains the elements of time and space remains relevant to my creative practice and theoretical research. The core interest of my practice is in understanding the settings and simple rules for bodily movement, which is inspired by the past and forms a possible creation for the future. In this research, the attempt was not to display a comprehensive understanding on how body influences the design of art but rather to explain how understanding body movements provides a trace of my works, from origin, the working process and to completion. Relevant artworks and reflection of personal experiences are discussed as needed to help the reader gain more insight on the interactions of body in art creations.

Introduction: Mapping Gwen John: Lives, Lines and Images

Nomadic Narratives, Visual Forces explores issues, questions, and problems emerging in the analysis of epistolary and visual narratives. This book focuses in particular on Gwen John's letters and paintings. It offers an innovative theoretical approach to narrative analysis by drawing on Foucault's theory of power, Deleuze and Guattari's analytics of desire, and Cavarero's concept of the narratable self. Furthermore, it examines the use of letters as documents of life in narrative research and highlights the dynamics of spatiality in the constitution of the female self in art. This study brings together theoretical insights that emerge from the analysis of life documents - some of them previously unpublished - combining innovative research with specific methodological suggestions on doing narrative analysis.

Various Joyful Encounters with the Dystopias of Affective Capitalism

This article contends that what appear to be the dystopic conditions of affective capitalism are just as likely to be felt in various joyful encounters as they are in atmospheres of fear associated with post 9/11 securitization. Moreover, rather than grasping these joyful encounters with capitalism as an ideological trick working directly on cognitive systems of belief, they are approached here by way of a repressive affective relation a population establishes between politicized sensory environments and what Deleuze and Guattari (1994) call a brain-becoming-subject. This is a radical relationality (Protevi, 2010) understood in this context as a mostly nonconscious brain-somatic process of subjectification occurring in contagious sensory environments populations become politically situated in. The joyful encounter is not therefore merely an ideological manipulation of belief, but following Gabriel Tarde (as developed in Sampson, 2012), belief is always the object of desire. The discussion starts by comparing recent efforts by Facebook to manipulate mass emotional contagion to a Huxleyesque control through appeals to joy. Attention is then turned toward further manifestations of affective capitalism; beginning with the so-called emotional turn in the neurosciences, which has greatly influenced marketing strategies intended to unconsciously influence consumer mood (and choice), and ending with a further comparison between encounters with Nazi joy in the 1930s (Protevi, 2010) and the recent spreading of right wing populism similarly loaded with political affect. Indeed, the dystopian presence of a repressive political affect in all of these examples prompts an initial question concerning what can be done to a brain so that it involuntarily conforms to the joyful encounter. That is to say, what can affect theory say about an apparent brain-somatic vulnerability to affective suggestibility and a tendency toward mass repression? However, the paper goes on to frame a second (and perhaps more significant) question concerning what can a brain do. Through the work of John Protevi (in Hauptmann and Neidich (eds.), 2010: 168-183), Catherine Malabou (2009) and Christian Borch (2005), the article discusses how affect theory can conceive of a brain-somatic relation to sensory environments that might be freed from its coincidence with capitalism. This second question not only leads to a different kind of illusion to that understood as a product of an ideological trick, but also abnegates a model of the brain which limits subjectivity in the making to a phenomenological inner self or Being in the world.