By Carrol Clarkson
Drawing the road examines the ways that cultural, political, and felony strains are imagined, drawn, crossed, erased, and redrawn in post-apartheid South Africa via literary texts, artistic endeavors, and other kinds of cultural construction. less than the rubric of a philosophy of the restrict and with regards to a number signifying acts and occasions, this booklet asks what it takes to recalibrate a sociopolitical scene, moving perceptions of what counts and what concerns, of what should be obvious and heard, of what might be valued or considered as meaningful.
The ebook hence argues for an aesthetics of transitional justice and makes an attraction for a postapartheid aesthetic inquiry, instead of easily a political or a felony one. every one bankruptcy brings a South African art, textual content, speech, development, or social come upon into dialog with debates in serious conception and continental philosophy, asking: What problem do those South African acts of signification and resignification pose to present literary-philosophical debates?
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Extra info for Drawing the Line: Toward an Aesthetics of Transitional Justice (Just Ideas (FUP))
ME. [-extravagant-, pres. ppl. stem of med. L. extravagari, f. additional additional + vagari wander . . . That wanders out of bounds; vagrant; conserving no ﬁxed position . . . “Roving past simply limits or prescribed tools” (J. ) The ﬁrst sentences of Modernism and the Grounds of legislation, with their connection with Freud because the impetus for the venture and a borrowed word from Derrida, definitely are extravagant of their roving past the prescribed tools one could count on from a ebook in criminal philosophy. The publication publicizes itself as a reaction to Freud’s Totem and Taboo—and therefore the eﬀect of “seem” (in “Extravagant because it may perhaps seem”) profits its semantic strength: What F6141. indb 39 6/26/13 11:41:20 AM 40 Drawing the road are the “bounds” of Modernism and the Grounds of legislations whether it is explicitly solid as having its origins within the paintings of Freud? Is Freud’s “attempt” then no longer incipiently in the arguments of Modernism and the Grounds of legislations, and is Fitzpatrick’s intended vagrancy in bringing up it not likely a wandering out of bounds in any respect? but if the arguments of Modernism and the Grounds of legislations are just “initially encapsulated” in Freud, then the publication isn't really solely in that maintain both. hence the quotation within the very ﬁrst sentence already increases unsettling questions in a thematic manner, yet, what's probably extra very important, it plays the “disruptive ambivalence” that Fitzpatrick locates within the responsiveness of legislation. just like the legislation of which it speaks, the e-book itself is simply questionably contained inside determinations one may well normally set for a monograph written via a unmarried writer, as we will see within the concluding component to this bankruptcy. yet ﬁrst permit me reiterate that my curiosity in Fitzpatrick’s paintings has not just to do with the information expressed yet with the consequences of his stylistic process. i'd argue that, faraway from being an inappropriate, if idiosyncratic, function of his writing, Fitzpatrick’s technique of referencing, which it to claim, his giving voice to the opposite, enacts the ethic of responsiveness that underwrites his felony philosophy. i've got spoken approximately what I referred to as “the ﬁrst sentence of Modernism and the Grounds of Law”—but in fact, this isn't strictly the ﬁrst sentence. the true ﬁrst sentence, after the record of contents, looks below the heading “Acknowledgements,” and this ﬁrst sentence reads, “Rarely can the arrogations of authorship were so sorely proven” (Fitzpatrick 2001b, ix). within the acknowledgments Fitzpatrick elaborates in this proposal: The “inﬁnity of inﬂuence can't be encompassed,” he writes, and at a extra radical point, any intended containment of the ebook itself is open to query: “Its spurious self-suﬃciency can be tremendously challenged by means of the inventive readings of prior drafts, or a bit of them oﬀered through . . . ” A litany of names follows, each one associated with an merchandise in a fascinating record that comes with “exuberance,” “research on globalism,” “poetry,” “red pens,” “intellectual companionship,” an “exemplary index,” “sustaining joy,” a “Kentish-Brazilian garden,” and “much every thing” (Fitzpatrick 2001b, ix).