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dc.contributor.authorAracagök, Z.en_US
dc.contributor.authorYalim, P. B.en_US
dc.date.accessioned2019-01-26T08:13:07Z
dc.date.available2019-01-26T08:13:07Z
dc.date.issued2010-07en_US
dc.identifier.issn0952-8822
dc.identifier.urihttp://hdl.handle.net/11693/48394
dc.description.abstractReconsidering the Situationist texts, mainly Guy Debord’s Society of the Spectacle, this article attempts to produce distinctions between the spectacle, the speculative and the ‘spectile’ via a reading of Deleuzian insistence that immanence should be created. Zigzagging between the texts of Sarah Kane and Sevim Burak, we suggest the urgency of ‘the spectile’ within the Deleuzian concept of ‘becoming‐woman’ if an immanence, including both arts and art criticism, is not to yield to a transcending transcendental; if criticism is to produce an immanence that is only immanent to itself.en_US
dc.language.isoEnglishen_US
dc.source.titleThird Texten_US
dc.relation.isversionofhttps://doi.org/10.1080/09528822.2010.491374en_US
dc.subjectSpectileen_US
dc.subjectSpectacleen_US
dc.subjectSituationistsen_US
dc.subjectHyperboleen_US
dc.subjectSarah Kaneen_US
dc.subjectSevim Buraken_US
dc.subjectGuy Deborden_US
dc.subjectDétournementen_US
dc.subjectSomnambulismen_US
dc.subjectCriticismen_US
dc.titleSpectacle, speculative, spectile: situations in Sarah Kane, Sevim Burak, etcen_US
dc.typeArticleen_US
dc.departmentDepartment of Graphic Designen_US
dc.citation.spage437en_US
dc.citation.epage444en_US
dc.citation.volumeNumber24en_US
dc.citation.issueNumber4en_US
dc.identifier.doi10.1080/09528822.2010.491374en_US
dc.publisherRoutledgeen_US
dc.identifier.eissn1475-5297


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