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With an unconventional living-dead protagonist and a minimalist auteur style, Halley brings to the fore how the tensions between genre movies and art cinema operate in a transnational context. Halley surprises the audience with the story of a security guard who is dead but remains alive. While his flesh decomposes, Beto goes to work and continues with his lonely life pretending that everything is fine. In this sense, the film presents an unconventional zombie: Beto is not a monster, he is harmless and he is an obedient worker, but his condition exhibits his alienation in society. This article analyses Beto's impossible embodiment from the perspective of film categorization, taking into account the intersections between auteur cinema and subcultural genres such as zombie movies in a transnational context. To that end, I rely on Dolores Tierney's mapping of cult cinema in Latin America as well as on Ignacio Sánchez Prado's analysis of global art cinema in México, both of which are related to international film circuits. Secondly, this article focuses on the sociopolitical implications of Beto's living-dead body. I trace the trope of the living-dead character and analyse its political commentary from the perspective of bio-power. Drawing from Giorgio Agamben's exploration of the homo sacer and bare life, this article explores how Beto's embodiment evokes his diminished agency but also its subversive potential. With a body that transcends basic medical categorizations of life and death, Beto confronts Foucault's idea of bio-power and resists the clinic. [ABSTRACT FROM AUTHOR]

BioArt has become an umbrella term for art practices utilizing biotechnology and living matter. Pioneering BioArt creations erode the boundaries between science and art, provoking a series of social and cultural debates. BioArtists deprive the pragmatic function of biotechnology and alter life itself. However, BioArt is an art practice strongly tied to the development of biotechnologies and evolving bio-media. The increasing familiarity of biotechnologies enables the creative works to evolve as technologies evolve. This article aims to contextualize the issues presented in the artworks by two artists based in Taiwan, Kuang-Yi Ku and Pei-Ying Lin, who adapted emerging biotechnologies for their artworks. This article attempts to use affect theory as a lens to observe post-biological artworks and suggests that the Autonomy of Affect, the postmodern power after ideology, should play a significant role in their works. [ABSTRACT FROM AUTHOR]

In the summer of 2007, three artists from Slovenia legally changed their names to 'Janez Janša'. This life event introduced a break in their artistic practice, which evolved into one of the most radical explorations of life in the age of biopolitics. This essay discusses their recent work, a continuum that is sometimes produced by companies and institutions as a reaction to their life, sometimes by isolating and documenting specific moments in their life. ID cards, passports, and bank cards become the means of a research that undermines the very concepts of 'art' and 'artwork', and that challenges the economic system, the legal system, and the art system while actively seeking for their complicity in order to exist. [ABSTRACT FROM AUTHOR]

This article aims to analyse how an event like the Zong massacre and its uncomfortable traumatic memories can be used to investigate and unlock the biopolitical nature of the transatlantic slave economy and its literary representations. Given the centrality of the slave trade in the development of modern capitalist societies, the article questions why and how recent theories of biopolitics - which underscore the ambivalent relation between power and life in modern societies - have avoided considering slavery and the plantation system as pivotal aspects in the genealogy of the contemporary forms of sovereignty and governance. Within this wider framework, the article considers how the specific engagement of several Caribbean writers with the unspeakable core of dehumanization and silencing produced by slavery is paradoxically capable - through a turbulent and painful confrontation with language, memory, 'bare life' and the historical unconscious - of developing effective responses to those overwhelming structures. In particular, the work of NourbeSe Philip in her poem Zong! (2008) and Édouard Glissant's poetic and philosophical confrontation with the abyss of absolute loss show us how writing can specifically engage with the inherent ambivalence of biopolitics: the language of the Law, with its tremendous power of capturing and sometimes undermining or destroying life, and the creative power of language itself to reshape identities and subjects, both on a personal and on a collective level. These openings allow us to imagine and perform empowering and creative relations between life and its forms, which can be considered as attempts to inaugurate an affirmative biopolitics in our present. Cet article vise à analyser comment un événement tel que le massacre du Zong, avec ses mémoires pénibles, peut fonctionner de manière paradigmatique pour révéler la nature biopolitique de la traite transatlantique et de ses représentations littéraires. Étant donné le caractère central de l'économie de plantation esclavagiste pour le développement des sociétés capitalistes, l'article se demande pourquoi et comment les théories biopolitiques les plus récentes - lesquelles s'interrogent sur la relation entre le pouvoir et la vie dans les sociétés contemporaines - ont évité de considérer l'esclavage et la plantation comme des aspects centraux dans la généalogie des formes contemporaines de la souveraineté et de la gouvernementalité. Dans ce cadre plus large, l'article examine comment l'engagement spécifique de plusieurs écrivains antillais avec le noyau indicible de déshumanisation et de silence qui est au cœur de l'esclavage est capable - à travers un affrontement douloureux avec le langage, la mémoire, l'inconscient historique et la « vie nue » - de développer des réponses effectives à ces structures accablantes. L'impressionnant travail de NourbeSe Philip sur le langage dans son poème Zong ! (2008) et l'affrontement poétique et philosophique de Glissant avec l'abyme de perte absolue du sens, nous montrent comment l'écriture peut faire face à l'ambivalence constitutive de la biopolitique : le langage de la Loi, avec son pouvoir de capture et parfois de destruction de la vie, et la puissance créatrice du langage, capable de refaçonner les identités et les sujets sur un plan individuel et collectif. Ces ouvertures nous autorisent à imaginer et réaliser des dynamiques créatrices entre la vie et ses formes, qu'on peut considérer comme des efforts d'inaugurer une biopolitique affirmative dans notre présent. [ABSTRACT FROM AUTHOR]

Indentured immigration from India to the Caribbean began after abolition. In the French context, it is estimated that a total of 74,386 people undertook the transoceanic journey. These indentured labourers became known as 'coolies', although the term itself is inherently transnational, projective and ambiguous, and carries (to this day) considerable pejorative nuances. Significant differences exist between Anglophone and Francophone Caribbean perceptions of coolies. Whereas in the Anglophone world, authors such as V. S. Naipaul have raised the visibility of coolies, in Francophone Caribbean literature, coolie authors, and indeed coolie protagonists, have occupied an ambiguous, subaltern position. Drawing on Giorgio Agamben's understanding of the relationship between biopolitics, violence and power, and in particular his concepts of 'homo sacer', 'bare life' and the 'state of exception', this article examines the narrative strategies adopted by Raphaël Confiant and Maurice Virassamy in their contrasting accounts of the coolie experience. The neglected position of the coolie in the complex French Caribbean ethnoclass hierarchy is explored through a biopolitical reading, reassessing questions of marginalization and exclusion to ask to what extent the coolie may be considered 'creolized'? L'immigration des engagés de l'Inde aux Antilles a commencé suite à l'abolition de l'esclavage. Dans le contexte français, on estime que 74 386 personnes ont entrepris le voyage transatlantique. Ces engagés furent désignés sous le nom de 'coolies', bien que le terme soit transnational, projectif et ambigu, et qu'il transmette, jusqu'à aujourd'hui, des nuances péjoratives. De grandes différences existent entre les perceptions anglophones et francophones des coolies. Dans le monde anglophone, des auteurs tels V. S. Naipaul ont mis en lumière la présence des coolies, tandis que dans la littérature francophone antillaise, les auteurs coolies, voire les personnages coolies, continuent d'occuper une position ambiguë et subalterne. En se référant aux idées de Giorgio Agamben sur la 'relation entre la biopolitique, la violence et le pouvoir, et surtout à ses concepts d'homo sacer, de 'la vie nue' et de 'l'état d'exception', cet article traite de la signification des stratégies narratives adoptées par Raphaël Confiant et Maurice Virassamy dans leurs textes sur l'expérience dite 'coolie'. La position du coolie dans la hiérarchie complexe des ethnoclasses aux Antilles francophones sera analysée à partir d'une lecture biopolitique, qui conduira à une reconsidération de la marginalisation et de l'exclusion du coolie, pour tenter de comprendre enfin dans quelle mesure nous pouvons considérer le coolie comme étant 'créolisé'. [ABSTRACT FROM AUTHOR]

Edwidge Danticat's novel The Farming of Bones (1998) takes its epigraph from the Bible (Judges). The famous passage about the Shibboleth is indeed the best possible introduction to the novel since 'le droit de passage, le laissez-passer' is reserved to people who can be identified as belonging to a certain social and ethnic group because they speak in a certain way. The way a word is pronounced determines whether one lives or dies. From ancient times, when the Gileadites inflicted the Shibboleth test upon the Ephraimites so as to distinguish insiders from outsiders, to 1937 when Dominicans put Haitians to the Parsley test, having them say perejil in the 'proper' Dominican way and putting them to death if they could not, such violence is ongoing. This article will use the framework of biopolitics to understand how violence is brought upon the body to exert an authoritarian power as well as how Danticat prolongs the work of her predecessors to offset such violence in a life-sustaining way. It will move across biopolitics, translation, Anglophone and Francophone literature and trauma studies, to understand how the multiple translations further the resistance and enhance the resilience that is at work in the very body of the text. L'exergue du roman d'Edwidge Danticat The Farming of Bones (1998) est extraite de la Bible (Juges). Le passage bien connu à propos du Schibboleth est la meilleure introduction possible au roman puisque 'le droit de passage, le laissez-passer' est réservé à ceux qui peuvent être identifiés comme appartenant à un certain groupe ethnique et social par la façon dont ils parlent. La prononciation d'un mot décidera de la vie ou de la mort. Depuis les temps anciens où les Giléadites imposaient le test du Schibboleth aux Ephraïmites pour distinguer les intrus jusqu'à 1937 où les Dominicains ont utilisé la façon de prononcer perejil pour reconnaître les Haitiens et les mettre à mort à la moindre différence, la même violence se poursuit. Cet article utilisera le cadre de la biopolitique pour comprendre comment la violence est portée sur le corps afin d'exercer un pouvoir autoritaire mais aussi comment Danticat parvient à contrer une telle violence par la prolongation, et la dissémination, du travail de ses prédécesseurs. Il utilisera la biopolitique, la traduction, la littérature Anglophone et Francophone et les études sur le trauma pour comprendre comme les multiples traductions renforcent aussi la résistance et la résilience qui sont au cœur du corps du texte. [ABSTRACT FROM AUTHOR]

In the second half of the eighteenth century, the emergence of a concept of 'life itself' as living not only has an impact on the economical and political fields but deeply touches on traditional understandings of the work of art as well. The birth of aesthetics within philosophy is just a consequence of, not the reason for, new practices and procedures in the field of art. Until now, the strict rules of Poetics had governed and distributed mimesis, keeping the different arts separate whilst subsuming their subjects under the idea of an organic unity. With the aesthetic and biopolitical turn in the second half of the eighteenth century, every measure is lost. [ABSTRACT FROM AUTHOR]

In this article the author explores affect within the representational framework, which is questioned as the paradigm of the theatrical convention. In relation to affective labour, physical presence and the real, being the core of theatrical illusion, it explores the emancipatory potential of performing arts conceived through the presence of affect. Actual virtuality becomes the key term with which to signify possibility, constituted within the creative act, as operative in the symbolic (field). The implications of the presence of affect within the performance are examined through its analytical introduction into the Slovenian theatrical performance Mandi?machine. [ABSTRACT FROM AUTHOR]