Stuart Elden

@stuartelden.bsky.social

10096 Followers 1372 Following

Political theorist, political geographer, now mainly write on the history of ideas. Professor at University of Warwick, work on territory, Foucault, Lefebvre and new project on Indo-European thought in C20th France. https://progressivegeographies.com

cover of book, black background with text in white, and painting of John Locke (old and thin, with long grey hair)
Cover of book, with white capital letters for title, subtitle and authors. The background is red, with a black handwritten diagram of names across a timeline, with straight and dotted lines connecting them.
Cover of book, showing an abstract figure in brown on off-white, perhaps with a shadow or a black frame around it. Painting is by Charles Wakefield - https://charleswakefield.com/portfolio/paintings/
Cover of book, with image of a satellite above a landscape
Cover of book, with image of Wollstonecraft in vertical bars across the page. (The image is therefore visible, but only in part)
Cover of the book - with Radiances and Kantorowicz's name in yellow capitals, subtitle and editor in smaller white capitals, on black background, with detail of Andrea Mantegna - The Court of Mantua, showing three men in red hats and tunics standing by a pillar.
Two images from posts in the series - The Tel Quel group in front of a monument in China; and Umberto Eco and Jacques Lacan looking at a museum exhibit.
Cover of book with photograph of Foucault - tightly cropped image of head, coloured in blue/black
Cover of book - text in white in large blue rectangle, with bottom left photograph of barbed wire and border infrastructure
Cover of book, with title on off-white background and in the bottom third shadowy images of animals, including a giraffe and elephant
Hans Holbein, The Body of the Dead Christ in the Tomb, Kunstmuseum Basel - a long thin painting of a very thin male body
Cover of book - off white background with images of various faces and a blue diagonal cross painted over them. The title is in large white capital letters.
Cover of book - text in orange on dark blue background, no image
Cover of book - text in blue on off-white background, with inset image (Turner's Storm Clouds, Perhaps above a Beach - a watercolour painting)
A photograph of the proofs of my chapter, "Foucault and Structuralism", with a red pen used for the markup
Cover of book - orange and purple over a handwritten text
A photograph of two shelves of cds and boxsets by Miles Davis and related figures (and some Frank Zappa)
Cover of book, with image of Thomas Rowlandson, The Country Club - five men with wigs standing talking, with serving staff in a doorway at the back.
Cover of books, with fields in the foreground and a city and mountains behind
Cover of book, light background with red square on an angle, with text above and below
Cover of book - series and publisher information in brown; author and title in red on white background. No image.
Cover of book - text in white on green background, on a black and white image - showing what looks like a river or canal with plastic waste in it, with a motorcycle and other vehicles on the bank above.
A composite image of three photographs of the Tel Quel group in China (the group with their guides; Barthes and Kristeva; and the group at a tourist site), and the cover of the journal issue 'En Chine'
Cover of the issue, with image of the Square Michel Foucault sign outside the Collège de France (white letters on green rectangular sign)
Cover of book - abstract sculpture in a wood (tree in background, white flowers in foreground)
Cover of book, showing Paul Nash's 1932 painting The Rye Marshes
Cover of the English translation of Kristeva's book, with image of a pen in an inkwell, wine glass and page with writing
Cover of book with image of world in two hemispheres
cover of the book, with text in white in blue box. background is bars of blue to red with images of landscapes within them.
Cover of book - divided in half with yellow to left and white to right, with text in capital letters
Composite image of the covers of Naissance de Rome and Tarpeia, with the dedications handwritten inside. All described in more detail in the linked post.
Cover of book - text in dark red boxes, over a black and white photograph. Photograph is possibly a bird's eye view of a crowd.
Cover of book with abstract image, blue and orange on light green
... Accumulation (of wealth and resources, knowledges and technologies – in short, of capital) is organized during this historical period. This period, the era of industrialization, of history and the great historical struggles for conquest and domination over nature (the struggle against nature being accompanied by intense struggles between nations, peoples, classes and fractions of classes), this period is drawing to an end. It is ending in contempt hidden behind knowledge, in a form of madness whereby reason and unreason are the same: the sacrifice of a considerable part of the earth's resources in order to gain possession of one of the ghastliest of all the piles of pebbles rattling around in space. Let’s move on.
Screenshot of the University at Buffalo Digital Collections page, showing the eight files.
A photograph of Stuart Elden standing in front of a large painting of Irnerius - a figure seated at a desk on steps, with a landscape and an army behind him.
Cover of book - light green and light blue words on dark blue background, with head in bottom left corner.
Composite image of Walter Henning, Franz Altheim and the cover of Asien und Rom
Cover of book, with satellite view of the Suez Canal
screenshot of p. 174 of Malan's summary - Monod is indicated by 'Mo'
Part of the text of Malan's summary of the conference. Serres's comment is at the beginning of the second paragraph.
Cover of the book, with an image from a medieval manuscript. The image is hard to describe, but shows a human figure with animal legs followed by a large rabbit or hare. They appear to be on a branch. The human has an animal head by their waist, possibly a bear, and the rabbit is carrying something, possibly parts of other animals, but it appears to be playing this like bagpipes.
Umberto Eco and Jacques Lacan at the International Gallery of Modern Art, on the Grand Canal in Venice, 1976 - photo of them looking at an exhibit, with Eco pointing to something. Image via Lacan Circle of Australia on X - https://x.com/lacancircle/status/1615569143012667392
First page of the article, with Pateman's student ID card from the year in Paris.
Cover of book - title in very large letters taking up 2/3 of the image, in red and blue, on black background, moving from nearly all red in bottom left to blue in top right. Author name at bottom, almost all red.
On one fact at least I am in agreement: it is not as an effect of their lack of attention that before Derrida and in like manner the classical interpreters erased this passage from Descartes. It is by system. A system of which Derrida is the most decisive modern representative, in its final glory: the reduction of discursive practices to textual traces; the elision of the events produced therein and the retention only of marks for a reading; the invention of voices behind texts to avoid having to analyse the modes of implication of the subject in discourses; the assigning of the originary as said and unsaid in the text to avoid replacing discursive practices in the field of transformations where they are carried out. I will not say that it is a metaphysics, metaphysics itself or its closure which is hiding in this 'textual isation' of discursive practices. I'll go much further than that: I shall say that what can be seen here so visibly is a historic- ally well-determined little pedagogy. A pedagogy which teaches the pupil that there is nothing outside the text, but that in it, in its gaps, its blanks and its silences, there reigns the reserve of the origin; that it is therefore unnecessary to search elsewhere, but that here, not in the words, certainly, but in the words under erasure, in their grid , the 'sense of being' is said. A pedagogy which gives conversely to the master's voice the limitless sovereignty which allows it to restate the text indefinitely.
page 1 of the conference call - details in the link
Cover of book with title and US flag with dark markings across it, possibly a silhouette of a person
Cover of book, with cartoon drawing of Bowie wearing a blindfold and buttons for eyes
Covers of Eliade, The Forge and the Crucible and Davy, Initiation à la symbolique romance
Cover of book - white with brown and red letters
Cover of the book, with comic image of a person in a red t-shirt and helmet on a bicycle with a map, in front of an improvised border - cones, cement blocks - and traffic lights.
First page of the article - link in post
The Covers of the books in the series (all linked in the post) - they are black with white lettering, and images of plants and flowers
cover of book, with photograph of Wittgenstein
A composite image of some of the books discussed in the posts, along with a dog, the Académie française and a postcard
Cover of book with two white globes on purple background and title vertically on the right side.
A photograph of Foucault sitting at a desk with bookshelves behind and a typewriter and papers in front of him. There is a large old-fashioned lampshade above him.
A photograph of the four books mentioned in the post - Noam Leshem, Edges of Care: Living and Dying in No Man’s Land, the reedition of Stefan Arviddson, Aryan Idols: Indo-European Mythology As Ideology and Science, Henri Natter and Adam Réfrégier and Five Years Behind Hitler’s Barbed Wire: A Diary of French Officers in a German Prison Camp, 1940-1945 and Melissa Pawelski, Languages of Punishment: Translating Foucault into English and German.
A page of handwritten notes by Foucault - details in the above post and available at https://eman-archives.org/Foucault-fiches/items/show/7471