Frans‐Willem Korsten
Biographic Data
| ID | 5401022 |
|---|---|
| NAME | Frans‐Willem Korsten |
| GIVEN NAMES | Frans‐Willem |
| FAMILY NAME | Korsten |
| SIGNATURE | KORSTEN F W |
| AFFILIATIONS | Leiden University |
| ORCID | 0000-0002-9133-6807 |
| VERIFIED | Yes |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 12 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2012 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Imagining Urban Complexity
Imagining Urban Complexity introduces passionate and critical perspectives on the link between the humanities and urban studies. It emphasizes tropes, media, and genres as cultural techniques that shape complexity in urban environments by distributing affordances, modes of sensing, and modes of sense-making. Focusing on urban political and cultural dynamics in 24 global cities, the book shows that urban environments are thematized in literature a…
Battlegrounds of Representation and Motors of Desire
Connecting the Private and the Masses
Using Spielraum for a Normative Definition of Politics
The terms “politics” and “political” have become so overdetermined that it is difficult to use them in any effective manner. We argue that this has dangerous political consequences, and that this could be addressed by providing a new, sounder, notion of politics. This paper argues that defining politics in relation to the notion of play can provide a notion both intuitively appealing and able to withstand the problematic overdeterminations. We ar…
Populists in Court
A principal element of law is the unpredictable outcome of its proceedings. This unpredictability has fueled the hopes of many and the fears of equally as many. In recent years populists and other political mavericks have become highly capable at exploiting the element of chance in law, aiming not so much to prove guilt or maintain innocence, but rather to reconfigure the judiciary affectively as a game of winners and losers. Populists’ legal and…
Imagineering, or what Images do to People
This article studies the visual representation of violence in the Dutch Republic and the growth of a “staple market of images” in the early modern period. It introduces and employs the concept of imagineering for analysing what images can do to people when circulated in the context of a fast-expanding market. The advancement of the early modern print industry and imagery marketing produced a swirl of violent images. It was through this “spectacle…
Actualising History
Whereas prior studies have focused on Arthur Miller’s play The Crucible in relation to the Puritan past of the United States of America, this article looks at the play’s present in relation to a future. If, as is the case, the play is an intervention in its contemporary circumstances, this is obviously with the aim of moving towards a better future. The question then becomes: how does the play deal with the past in the way that the Salem trials (…
Theatre as Intervention
As Ernesto Laclau explains, the metaphorical comparison by means of allegory implies an attempt to bring different histories under the heading of one power. Arthur Miller’s The Crucible is an upfront political confrontation with the McCarthy Trials in the US during the1950s, claiming its own powers of control. At the same time, however, the two periods are not simply different just as two separate worlds can be different. The periods are also bor…
Theatricality, the Spectacle’s Veil and Allegory-in-Reverse in Arthur Miller’s The Crucible
Our analysis will radicalise the notion of frame, which has been used in the field of the humanities, especially in a semiotic sense but also as a replacement for the often-used term of “context”. Arthur Miller, for one, was framed by Joseph McCarthy in the 1950s. In response, Miller put his own point forward, the distance point—a point that organises perspective—of a theatrical play (The Crucible) whose power resides in the use of allegory again…
Introduction
This introduction critically addresses the historical development of operaismo/autonomism into “postautonomist” thinking. First, it argues that the very history of postautonomism allows for criticizing the notion of the “history” (or lack thereof) of theorists associated with postautonomist Marxism, such as Antonio Negri. It argues that the “all-or-nothing” characteristic of autonomism lives on in postautonomist theory's denial of mediation (Negr…
Post-Autonomia
Apostrophe, witnessing and its essentially theatrical modes of address
Apostrophe is best known as a punctuation mark (’) or as a key poetic figure (with a speaker addressing an imaginary or absent person or entity). In origin, however, it is a pivotal rhetorical figure that indicates a ‘breaking away’ or turning away of the speaker from one addressee to another, in a different mode. In this respect, apostrophe is essentially theatrical. To be sure, the turn away implies two different modes of address that may follo…
Introduction
This introduction critically addresses the historical development of operaismo/autonomism into “postautonomist” thinking. First, it argues that the very history of postautonomism allows for criticizing the notion of the “history” (or lack thereof) of theorists associated with postautonomist Marxism, such as Antonio Negri. It argues that the “all-or-nothing” characteristic of autonomism lives on in postautonomist theory's denial of mediation (Negr…
Apostrophe, witnessing and its essentially theatrical modes of address
Apostrophe is best known as a punctuation mark (’) or as a key poetic figure (with a speaker addressing an imaginary or absent person or entity). In origin, however, it is a pivotal rhetorical figure that indicates a ‘breaking away’ or turning away of the speaker from one addressee to another, in a different mode. In this respect, apostrophe is essentially theatrical. To be sure, the turn away implies two different modes of address that may follo…
Introduction
This introduction critically addresses the historical development of operaismo/autonomism into “postautonomist” thinking. First, it argues that the very history of postautonomism allows for criticizing the notion of the “history” (or lack thereof) of theorists associated with postautonomist Marxism, such as Antonio Negri. It argues that the “all-or-nothing” characteristic of autonomism lives on in postautonomist theory's denial of mediation (Negr…
Post-Autonomia
Theatricality, the Spectacle’s Veil and Allegory-in-Reverse in Arthur Miller’s The Crucible
Our analysis will radicalise the notion of frame, which has been used in the field of the humanities, especially in a semiotic sense but also as a replacement for the often-used term of “context”. Arthur Miller, for one, was framed by Joseph McCarthy in the 1950s. In response, Miller put his own point forward, the distance point—a point that organises perspective—of a theatrical play (The Crucible) whose power resides in the use of allegory again…
Imagineering, or what Images do to People
This article studies the visual representation of violence in the Dutch Republic and the growth of a “staple market of images” in the early modern period. It introduces and employs the concept of imagineering for analysing what images can do to people when circulated in the context of a fast-expanding market. The advancement of the early modern print industry and imagery marketing produced a swirl of violent images. It was through this “spectacle…
Actualising History
Whereas prior studies have focused on Arthur Miller’s play The Crucible in relation to the Puritan past of the United States of America, this article looks at the play’s present in relation to a future. If, as is the case, the play is an intervention in its contemporary circumstances, this is obviously with the aim of moving towards a better future. The question then becomes: how does the play deal with the past in the way that the Salem trials (…
Theatre as Intervention
As Ernesto Laclau explains, the metaphorical comparison by means of allegory implies an attempt to bring different histories under the heading of one power. Arthur Miller’s The Crucible is an upfront political confrontation with the McCarthy Trials in the US during the1950s, claiming its own powers of control. At the same time, however, the two periods are not simply different just as two separate worlds can be different. The periods are also bor…
Populists in Court
A principal element of law is the unpredictable outcome of its proceedings. This unpredictability has fueled the hopes of many and the fears of equally as many. In recent years populists and other political mavericks have become highly capable at exploiting the element of chance in law, aiming not so much to prove guilt or maintain innocence, but rather to reconfigure the judiciary affectively as a game of winners and losers. Populists’ legal and…
Imagining Urban Complexity
Imagining Urban Complexity introduces passionate and critical perspectives on the link between the humanities and urban studies. It emphasizes tropes, media, and genres as cultural techniques that shape complexity in urban environments by distributing affordances, modes of sensing, and modes of sense-making. Focusing on urban political and cultural dynamics in 24 global cities, the book shows that urban environments are thematized in literature a…
Battlegrounds of Representation and Motors of Desire
Connecting the Private and the Masses
Using Spielraum for a Normative Definition of Politics
The terms “politics” and “political” have become so overdetermined that it is difficult to use them in any effective manner. We argue that this has dangerous political consequences, and that this could be addressed by providing a new, sounder, notion of politics. This paper argues that defining politics in relation to the notion of play can provide a notion both intuitively appealing and able to withstand the problematic overdeterminations. We ar…
Political science (9 works) · Sociology (8 works) · Politics (7 works) · Law (6 works) · Art (5 works) · Law (5 works) · Aesthetics (4 works) · Computer Science (4 works) · History (4 works) · Philosophy (4 works)