Trajectories of desire in Genet and Wittig

At their most extreme Jean Genet and Monique Wittig stage revolutionary desire through their practice of language as material, embodied productivity in scenographies that decentre the ‘human' through a volatile mix of semiotic violence and iconoclastic eroticism. In fact, both writers strategically universalise homoerotic desire, plotting its trajectories to disrupt, deconstruct, or explode in parodic hilarity the cultural practices subtending patriarchal imperialism. This paper will be looking at the ceaseless productivity of desire in their texts as it moves through abjection and animal-becoming and finds serial ignition throughout its metonymic relay, arousing obstruction itself as its medium. Evidently these tropes and the concept of desire as productive come from Deleuze and Guattari (Deleuze & Gauttari 2008a; 2008b). While these subversive poetics are inseparable from the project to storm and overthrow what Timothy Mathews (Mathews 2000) calls the ‘image-fortresses' of patriarchal imperialism, they are less about utopian arrival than about the endlessly renewed performance of desire as metamorphic.

A Foucauldian and Deleuzian reading of autopoietic bisexual lives

This paper will locate the convergence of Foucault’s and ’Deleuze’s critico-political itinerary on the ethics of autopoiesis. It will re-evaluate the aims and objectives of Foucault’s ‘ethical turn’ in the later volumes of the history of sexuality project alongside Deleuzian ideas about the processes of becoming-other. Then, using primary research from a sociological study on bisexual lives, the paper will demonstrate the consonances of their respective theoretical insights about the potential of erotic ‘pleasure’ and ‘desire’ as a force of resistance. The aim of the analysis is twofold: firstly, to set the groundwork for further dialogical exchange between Deleuzian and Foucauldian thinking; and secondly, to highlight a lacuna in queer scholarship on bisexuality.

Cinematic and Aesthetic Cartographies of Subjective Mutation

This article examines the use of cinema as a mapping of subjective mutation in the work of Deleuze, Gauttari and Berardi. Drawing on Deleuze's distinction between the reduction of the art-work to the symptom and the idea of art as symptomatology, the article focuses on Berardi's use of cinematic examples, posing the question in each case of to what extent they function as symptomatologies or mere symptoms of cultural and subjective mutations in examples ranging from Bergman's Persona to Van Sant's Elephant to finish on speculations about Fincher's The Social Network as a critical engagement with subjective mutation in the 21st Century.

LA DESTERRITORIALIZACIÓN COMO FORMA DE ABORDAR EL CONCEPTO DE FRONTERA Y LA IDENTIDAD EN LA MIGRACIÓN

Mediante una serie de reflexiones que tienen como objeto principal abordar el concepto de desterritorialización de Deleuze y Gauttari, para entender la noción de frontera y la puesta en escena de la identidad en la migración. Proponemos en nuestro trabajo, atender la significación del espacio social mediante el proceso de territorialidad, para entender la ordenación o modelado del paisaje (lugar) con base en los geosímbolos significativos de los individuos y de las comunidades. Obteniendo como aportación, que la migración no sólo da un desplazamiento de habitantes, bienes reales y simbólicos, o crea transformaciones (individuales, colectivas y territoriales), sino que a su vez, produce una constante desterritorialización y reterritorialización de percepciones, sentimientos y memorias, sobrepasando las fronteras físicas del Estado-Nación. Estableciendo así, el concepto de frontera como apertura que permite la comprensión de las nuevas organizaciones territoriales y la reafirmación identitaria de los migrantes en sus nuevos lugares de arribo.