Robert G. White – författare

In Of Other Spaces Foucault coined the term “heterotopias” to signify “all the other real sites that can be found within the culture" which "are simultaneously represented, contested, and inverted.” For Foucault, heterotopic spaces were first of all spaces of crisis, or transformative spaces, however these have given way to heterotopias of deviation and spaces of discipline, such as psychiatric hospitals or prisons. Foucault''s essay provokes us to think through how spaces of crisis and critique function to open up disruptive, subversive or minoritarian fields within philosophical, political, cultural or aesthetic discourses. This book takes this interdisciplinary and international approach to the spatial, challenging existing borders, boundaries, and horizons; from Claire Colebrook''s chapter unpacking the heterotopic spaces of America and Mexico that lie beyond reductive ideological spaces of light and darkness, to a Foucauldian reading of the Zapatista resistance. With essays on politics, philosophy, literature, post-colonial studies, and aesthetics from established and emerging academics, this book answers Foucault''s call to give us a better understanding of our present cultural epoch.

In Of Other Spaces Foucault coined the term “heterotopias” to signify “all the other real sites that can be found within the culture" which "are simultaneously represented, contested, and inverted.” For Foucault, heterotopic spaces were first of all spaces of crisis, or transformative spaces, however these have given way to heterotopias of deviation and spaces of discipline, such as psychiatric hospitals or prisons.Foucault's essay provokes us to think through how spaces of crisis and critique function to open up disruptive, subversive or minoritarian fields within philosophical, political, cultural or aesthetic discourses. This book takes this interdisciplinary and international approach to the spatial, challenging existing borders, boundaries, and horizons; from Claire Colebrook's chapter unpacking the heterotopic spaces of America and Mexico that lie beyond reductive ideological spaces of light and darkness, to a Foucauldian reading of the Zapatista resistance.With essays on politics, philosophy, literature, post-colonial studies, and aesthetics from established and emerging academics, this book answers Foucault's call to give us a better understanding of our present cultural epoch.

In Of Other Spaces Foucault coined the term “heterotopias” to signify “all the other real sites that can be found within the culture" which "are simultaneously represented, contested, and inverted.” For Foucault, heterotopic spaces were first of all spaces of crisis, or transformative spaces, however these have given way to heterotopias of deviation and spaces of discipline, such as psychiatric hospitals or prisons. Foucault''s essay provokes us to think through how spaces of crisis and critique function to open up disruptive, subversive or minoritarian fields within philosophical, political, cultural or aesthetic discourses. This book takes this interdisciplinary and international approach to the spatial, challenging existing borders, boundaries, and horizons; from Claire Colebrook''s chapter unpacking the heterotopic spaces of America and Mexico that lie beyond reductive ideological spaces of light and darkness, to a Foucauldian reading of the Zapatista resistance. With essays on politics, philosophy, literature, post-colonial studies, and aesthetics from established and emerging academics, this book answers Foucault''s call to give us a better understanding of our present cultural epoch.

In Of Other Spaces Foucault coined the term “heterotopias” to signify “all the other real sites that can be found within the culture" which "are simultaneously represented, contested, and inverted.” For Foucault, heterotopic spaces were first of all spaces of crisis, or transformative spaces, however these have given way to heterotopias of deviation and spaces of discipline, such as psychiatric hospitals or prisons.Foucault's essay provokes us to think through how spaces of crisis and critique function to open up disruptive, subversive or minoritarian fields within philosophical, political, cultural or aesthetic discourses. This book takes this interdisciplinary and international approach to the spatial, challenging existing borders, boundaries, and horizons; from Claire Colebrook's chapter unpacking the heterotopic spaces of America and Mexico that lie beyond reductive ideological spaces of light and darkness, to a Foucauldian reading of the Zapatista resistance.With essays on politics, philosophy, literature, post-colonial studies, and aesthetics from established and emerging academics, this book answers Foucault's call to give us a better understanding of our present cultural epoch.

This is a book that I wrote for myself. It was started 16 years ago when my duties began to include the origina­ tion of ultraviolet spectrophotometric testing methods for products of in­ terest to my company. Painful and wasteful experiences of rediscovering someone else''s ana­ lytical procedures soon led to my keeping notebooks and card files of published UV methods. Many times since, these files have enabled me to avoid conducting lengthy experiments or making tedious literature searches. When I decided to share them with others, I greatly expanded their scope to include clinical, biochemical, and pharmacological analysis, as well as other topics not normally part of either my responsibility or my in­ terests. This volume consists of more than 1600 references to analyses accom­ plished using UV absorption measurements, arranged alphabetically by senior author. The book is compound-oriented; that is, it deals with materials, and most papers dealing primarily with instrumentation and techniques have been excluded. Some of these items merely mention the subject treated. Others are abstracts containing enough detail to permit use of the method without consulting the original article. This book is intended, however, not merely to inform the reader and to grant him rapid access to the avail­ able literature, but to stimulate creativity by a quick review of the ap­ proaches others have taken to a problem similar to his own.

This is a book that I wrote for myself. It was started 16 years ago when my duties began to include the origina­ tion of ultraviolet spectrophotometric testing methods for products of in­ terest to my company. Painful and wasteful experiences of rediscovering someone else's ana­ lytical procedures soon led to my keeping notebooks and card files of published UV methods. Many times since, these files have enabled me to avoid conducting lengthy experiments or making tedious literature searches. When I decided to share them with others, I greatly expanded their scope to include clinical, biochemical, and pharmacological analysis, as well as other topics not normally part of either my responsibility or my in­ terests. This volume consists of more than 1600 references to analyses accom­ plished using UV absorption measurements, arranged alphabetically by senior author. The book is compound-oriented; that is, it deals with materials, and most papers dealing primarily with instrumentation and techniques have been excluded. Some of these items merely mention the subject treated. Others are abstracts containing enough detail to permit use of the method without consulting the original article. This book is intended, however, not merely to inform the reader and to grant him rapid access to the avail­ able literature, but to stimulate creativity by a quick review of the ap­ proaches others have taken to a problem similar to his own.

This is a book about Palestinians elsewhere and Palestinian elsewheres. Articulating an ambiguous right to remain out-of-place as a spatialized response to the fossilized present, the films and filmmakers in this book examine Palestine, as a place and idea, from the dissonance of exile. An Atonal Cinema: Resistance, Counterpoint and Dialogue in Transnational Palestine theorizes a transnational consciousness within contemporary Palestinian cinema as one which articulates an ‘atonal’ cinema, utilizing contrapuntal dialogue as a mode of resistance with which to respond critically to the ‘place-myth’ of Palestine in films produced within Palestine but without Palestinians. Drawing on a genealogy of Edward Said’s atonal thinking of counterpoint, the author argues that the films in this book display a ‘double-consciousness’, through which Palestine is simultaneously elided and re-inscribed in a contrapuntal dialogue between the ‘here’ of its contemporary reality and the ‘elsewhere’ of its historical image.An Atonal Cinema’s radical approach includes cinematic texts from Europe, South America and Israel in its corpus, which have both triggered and been shaped by critical responses in contemporary Palestinian cinema. Drawing on both literature and cinema, it draws on the work of Edward Said, Mahmoud Darwish, Jean Genet and Carlo Levi. Films by Pier Paolo Pasolini, Jean-Luc Godard, Menahem Golan and Miguel Littín are read contrapuntally through contemporary responses from Ayreen Anastas, Basma Alsharif, Mohanad Yaqubi, Elia Suleiman and Kamal Aljafari.

This is a book about Palestinians elsewhere and Palestinian elsewheres. Articulating an ambiguous right to remain out-of-place as a spatialized response to the fossilized present, the films and filmmakers in this book examine Palestine, as a place and idea, from the dissonance of exile. An Atonal Cinema: Resistance, Counterpoint and Dialogue in Transnational Palestine theorizes a transnational consciousness within contemporary Palestinian cinema as one which articulates an 'atonal' cinema, utilizing contrapuntal dialogue as a mode of resistance with which to respond critically to the 'place-myth' of Palestine in films produced within Palestine but without Palestinians. Drawing on a genealogy of Edward Said's atonal thinking of counterpoint, the author argues that the films in this book display a 'double-consciousness', through which Palestine is simultaneously elided and re-inscribed in a contrapuntal dialogue between the 'here' of its contemporary reality and the 'elsewhere' of its historical image.An Atonal Cinema's radical approach includes cinematic texts from Europe, South America and Israel in its corpus, which have both triggered and been shaped by critical responses in contemporary Palestinian cinema. Drawing on both literature and cinema, it draws on the work of Edward Said, Mahmoud Darwish, Jean Genet and Carlo Levi. Films by Pier Paolo Pasolini, Jean-Luc Godard, Menahem Golan and Miguel Littín are read contrapuntally through contemporary responses from Ayreen Anastas, Basma Alsharif, Mohanad Yaqubi, Elia Suleiman and Kamal Aljafari.

This is a book about Palestinians elsewhere and Palestinian elsewheres. Articulating an ambiguous right to remain out-of-place as a spatialized response to the fossilized present, the films and filmmakers in this book examine Palestine, as a place and idea, from the dissonance of exile. An Atonal Cinema: Resistance, Counterpoint and Dialogue in Transnational Palestine theorizes a transnational consciousness within contemporary Palestinian cinema as one which articulates an 'atonal' cinema, utilizing contrapuntal dialogue as a mode of resistance with which to respond critically to the 'place-myth' of Palestine in films produced within Palestine but without Palestinians. Drawing on a genealogy of Edward Said's atonal thinking of counterpoint, the author argues that the films in this book display a 'double-consciousness', through which Palestine is simultaneously elided and re-inscribed in a contrapuntal dialogue between the 'here' of its contemporary reality and the 'elsewhere' of its historical image.An Atonal Cinema's radical approach includes cinematic texts from Europe, South America and Israel in its corpus, which have both triggered and been shaped by critical responses in contemporary Palestinian cinema. Drawing on both literature and cinema, it draws on the work of Edward Said, Mahmoud Darwish, Jean Genet and Carlo Levi. Films by Pier Paolo Pasolini, Jean-Luc Godard, Menahem Golan and Miguel Littín are read contrapuntally through contemporary responses from Ayreen Anastas, Basma Alsharif, Mohanad Yaqubi, Elia Suleiman and Kamal Aljafari.

This is a book about Palestinians elsewhere and Palestinian elsewheres. Articulating an ambiguous right to remain out-of-place as a spatialized response to the fossilized present, the films and filmmakers in this book examine Palestine, as a place and idea, from the dissonance of exile. An Atonal Cinema: Resistance, Counterpoint and Dialogue in Transnational Palestine theorizes a transnational consciousness within contemporary Palestinian cinema as one which articulates an ‘atonal’ cinema, utilizing contrapuntal dialogue as a mode of resistance with which to respond critically to the ‘place-myth’ of Palestine in films produced within Palestine but without Palestinians. Drawing on a genealogy of Edward Said’s atonal thinking of counterpoint, the author argues that the films in this book display a ‘double-consciousness’, through which Palestine is simultaneously elided and re-inscribed in a contrapuntal dialogue between the ‘here’ of its contemporary reality and the ‘elsewhere’ of its historical image.An Atonal Cinema’s radical approach includes cinematic texts from Europe, South America and Israel in its corpus, which have both triggered and been shaped by critical responses in contemporary Palestinian cinema. Drawing on both literature and cinema, it draws on the work of Edward Said, Mahmoud Darwish, Jean Genet and Carlo Levi. Films by Pier Paolo Pasolini, Jean-Luc Godard, Menahem Golan and Miguel Littín are read contrapuntally through contemporary responses from Ayreen Anastas, Basma Alsharif, Mohanad Yaqubi, Elia Suleiman and Kamal Aljafari.