5ª Edição: Número Temático: Insecurity and Global Terror(s)


Agosto 29, 2015 // 0 Comments

Quando nos encontrámos para escrever este editorial, o advento via-se e ouvia-se em todo o lado: luzes, árvores decoradas, presépios e músicas de Natal. Enquanto preparávamos o texto, apercebemo-nos de que estávamos no advento de um outro acontecimento: o nosso terceiro aniversário. Em Janeiro de 2011, no seguimento de algumas conversas informais, alguns membros do Programa de Estudos Pós-Graduados do Centro de Estudos Comparatistas decidiram lançar uma revista académica de alunos para alunos e, em vésperas de aniversário e no momento em que publicamos o nosso quarto número, não poderíamos de deixar de agradecer a todos os que nos têm ajudado nestes últimos anos. Uma palavra especial para os nossos autores, nomeadamente estes que agora são publicados, uma vez que problemas técnicos deixaram a revista […]

Editors’ Introduction: “To Penetrate every Wall and Home”: Insecurity and Global Terror(s)[i] by Nuno Marques,[ii] Igor Furão[iii] and Susana Araújo[iv]

Novembro 25, 2014 // 0 Comments

In December 2001, three months after the attacks on the World Trade Centre (WTC) on 11th September, Don DeLillo wrote that the real target of the terrorists was “the high gloss of [US] modernity … technology … foreign policy … It was the power of American culture to penetrate every wall, home, life, and mind” (DeLillo 2001, 34). Let us begin this introduction by focusing on the words “wall[s] and home[s]” used by DeLillo. In light of US hegemony, how should we re-think and revisit notions of home and its (linguistic and physical) boundaries? How can we measure the extent of a movement that reaches “every wall, home, life, and mind”? Ver artigo completo

Systemic insecurity, spectacular violence: Bret Easton Ellis’ Glamorama by Christian Klöckner

Novembro 8, 2014 // 0 Comments

Abstract The apolitical terrorism performed by fashion supermodels in Bret Easton Ellis’s novel Glamorama (1998) negotiates the epistemological and physical insecurities of a globalized world, and explores the hidden links between the systemic violence of a hyperreal empire of consumer culture and spectacular acts of symbolic, terrorist violence. As embodiments of the “society of spectacle,” the models’ bodies represent the locus where systemic and symbolic violence converge and where the belief system of politics is replaced by the market technologies of biopolitics. Constantly shifting between different levels of fictionality, Glamorama portrays the terrorist as a self that has become its own mediatized, violent Other in the self-destructive, total space of capitalism. Linking this logic to the writings of Jürgen Habermas, Slavoj Žižek, Jacques Derrida, Jean […]

Representing crisis and (in)security – the case of Rui Zink’s A Instalação do Medo by Sandra Bettencourt

Novembro 8, 2014 // 0 Comments

Abstract This article aims to question the literary representation of concepts such as crisis, fear and safety that permeate the contemporary European political, social and cultural fabric. The main focus of my analysis is the intersection between different spheres: public and private, media and popular discourses, reality and fiction. I am interested in examining the Portuguese context and cultural production, since I consider this to be a privileged area for the observation of the dynamics between these different spheres. As a case study I will address the novel A Instalação do Medo (Installing Fear), a 2012 novel by the Portuguese author Rui Zink, in which he catalogues everyday fears installed by specific political agendas. I intend to explore some questions including: “What devices support this […]

Is this Iran? Depiction of the 2009 Iranian post-election protests in mass media and in the webcomic Zahra’s Paradise by Barbara Uhlig

Novembro 8, 2014 // 0 Comments

Abstract On 19th February 2010 the first episode of the webcomic Zahra’s Paradise was posted on-line. Only eight months had passed since the violent post-election riots in Iran had erupted. Using eyewitness reports, videos, photos, blog entries, and similar sources, the authors created a fictional story that was deeply rooted in reality and that was familiar to many in Iran. Considering the importance of visual representation of state brutality, since more credibility is placed in visual than oral testimony (Mirzoeff 2006), this webcomic played an important part in divulging the protests at a global level and made the politically sanctioned torture “incontestably real” (Scarry 1985). This essay will explore how the documentation of the events and their presentation in the mass media have been reflected […]

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