Papers by Frans-Willem Korsten
Tijdschrift Voor Geschiedenis, Jun 1, 2023
Routledge eBooks, Jun 17, 2024
Routledge eBooks, Jun 17, 2024
Routledge eBooks, Jun 17, 2024
Human Studies, Jan 21, 2024
Early modern low countries, Jun 26, 2023
Frans-Willem Korsten holds the chair 'Literature, Culture, and Law' at the Leiden University Cent... more Frans-Willem Korsten holds the chair 'Literature, Culture, and Law' at the Leiden University Centre for the Arts in Society and the chair by special appointment 'Literature and Society' at the Erasmus School of Philosophy. He has published on the baroque, theatricality, sovereignty, art, justice, and law-including A Dutch Republican Baroque (Amsterdam 2017) and Art as an Interface of Law and Justice (New York 2021). The nwo/fwo-funded project 'Imagineering Techniques in the Early Modern Period' focused on representations of violence in the Dutch Republic. He currently participates in the nwo-funded project 'Playing Politics. Media Platforms, Making Worlds'. His most recent publication is Cultural Interactions. Conflict and Cooperation (Amsterdam 2022). Lucy McGourty is a research master student in Arts, Literature, and Media at Leiden University. She focuses on early modern literature, with a special interest in how literary texts interact with their political and ideological contexts, and function as sites for negotiating political ideas. She is currently working on the history of emotions and the senses. She has co-authored the chapter 'Narrative Structure, Intervisuality, and Theology in Auladell's El Paraíso perdido' together with Jan Frans van Dijkhuizen, to be published in Milton Across Borders and Media (Oxford forthcoming).
Polemos, Apr 1, 2016
This article reads Peter Greenaway’s 1989 film The Cook, the Thief, his Wife and her Lover for th... more This article reads Peter Greenaway’s 1989 film The Cook, the Thief, his Wife and her Lover for the way it deals with the relation between justice and desire. The authors discuss how the film portrays, on the one hand, a desire for justice that seeks a theatrical mode of legal procedure in the form of a rule of law that is systematically ethical; and on the other hand, desire as justice as the expression of what Gilles Deleuze called the “ethics of becoming.” The two forms are brought in tension in the film’s final scene, which can be read either as a case presented to the viewer as audience in the judicial theatre, or as a feud that plays out on what the authors read as a Brechtian podium, a space characterized by its radical openness and accessibility. On the podium the procedure is not structured by an audience that needs to watch the proceedings as a check on its fairness, but in which the audience actively participates in determining the situation. Through formal, cinematographic elements, The Cook, the Thief, his Wife and her Lover brings these two modes of desire and justice, and the ethical, theatrical and procedural forms they imply, in tension with one another. It makes the film a crucial jurisprudential text.
Amsterdam University Press eBooks, Dec 31, 2020
The historical pivot of this chapter is the baroque 17th-century Dutch Republic where the rapidly... more The historical pivot of this chapter is the baroque 17th-century Dutch Republic where the rapidly developing printing press facilitated new forms of masking and of speed. Masked speaking allowed an anonymity in which communities came to intermingle with constituencies. In the current situation, the often used phrase of 'online communities' needs scrutiny, for there is little that makes such groups communities. They are entangled with social businesses and lack a complicated texture. Vitriolic online collectives are much like the religious constituencies in earlier times, in that they depend on iconic figures or platforms that attract and form groups and that vilify one another. Vitriol has become a form of socio-symbolic capital, partaking in neoliberal insurgencies that superimpose constituencies over communities.
In the last decades St Paul has been at the centre of debates on the relation between (radical) p... more In the last decades St Paul has been at the centre of debates on the relation between (radical) politics and religion. Taking a painting by Pieter Bruegel the Elder as point of departure – a painting that depicts the moment when Saul is struck – this article investigates the quasi-theological role that art has been given by important thinkers longing for the revolutionary New. By turning Gilles Deleuze and Hannah Arendt into allies, this article first of all explores the political derailment of fabrication caused by the turn towards sovereignty and then investigates how art could get back its potential to enhance the body’s power to act by means of its connection with ‘earth’.
Rodopi eBooks, 2004
Acknowledgments Preface OUTLINES Thomas POELL: Movement and time in cinema Isabelle GINOUX: De l&... more Acknowledgments Preface OUTLINES Thomas POELL: Movement and time in cinema Isabelle GINOUX: De l'histoire de la philosophie consideree comme un des beaux-arts: le portrait conceptuel selon Deleuze Pascal CHABOT: Deleuze et l'enigme de la creation artistique Peter van ZILFHOUT: Aesthetic Experiences SENSATION/FIGURE Sjef HOUPPERMANS: PUI(T)S: Deleuze et Beckett Eric ALLIEZ: The BwO Condition Or, The Politics of Sensation Joost de BLOOIS: Bartleby, du Scribe: `personage conceptuel' et `figure esthetique' dans la pensee de Gilles Deleuze Maake BLEEKER: The AB,C's of differance: Jan Ritsema and the Relationality of Theatrical Presence Patricia PISTERS: `Touched by a Cardboard Sword': Aesthetic Creation and Non-Personal Subjectivity in Dancer in the Dark & Moulin Rouge Catherine LORD: Becoming Still, Still Moving: Theoretical Pleasure in Sally Potter's Orlando Mary BRYDEN: "Etre traitre a son propre regne": Deleuze's Aesthetic of Betrayal GEO-AESTHETICS Karl MIKKONEN: Catamorphosis, Becoming and Minor Literature: David Malouf's Remembering Babylon as a Deleuzian Experiment in the Culturally Hybrid Christa STEVENS: De la societe repetee a une mondialisation imprevisible: les discours insulaires de Gilles Deleuze et d'Edouard Glissant Alain FRANCOIS: L'esthetique chez Deleuze: une theorie politique des sensations Sasha VOJKOVIC: Hong Kong Cinema and the Art of Countering Territorial Regimes: Women Warriors, Wicked Eunuchs and Socces Players from Shaolin Frans-Willem KORSTEN: Space and the Sense of History: Gilles Deleuze Meets Baroque Playwright Joost van den Vondel Bibliography About the authors
Law, Culture and the Humanities, Feb 2, 2023
A principal element of law is the unpredictable outcome of its proceedings. This unpredictability... more 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 luysory tactics make it urgent to reconsider the relation between the fields of law and the humanities. By paying more attention to the genres and media of play and game we can better assess the ways in which contemporary actors are playing with law and exploring the limits of the rules of the game. Here, the plurality that characterizes culturally and medially determined forms of legality, as Greta Olson calls it, has a counterpart in an equally culturally inspired and mediatized form of totalitarianism. In analyzing the populist play with law, my guide will be Johan Huizinga’s Homo Ludens, in which he considers law’s origin in play and chance. For Huizinga, play is serious, as is the law. The populist play with law is equally serious, since it may have serious consequences for the Rechtsgefühle of citizens.
The Wiley-Blackwell Encyclopedia of Globalization, Feb 29, 2012
Routledge eBooks, Jan 18, 2018
Philosophy, Psychiatry, & Psychology, 2020
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Papers by Frans-Willem Korsten