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This essay discusses the central historical proposition of Gilles Deleuze's cinema books, the "sensorimotor break" that separates the classical cinema of the movement-image from the modern cinema of the time-image. That proposition is more or less in line with dominant accounts of the politics of periodization in twentieth-century aesthetics. Jacques Rancière's thought offers a powerful challenge to any such notion of a break or rupture, and Rancière pays particular critical attention to Deleuze's work on cinema. A work by the Iranian filmmaker Jafar Panahi ( The Mirror ) is introduced in order to show up some shortcomings of Rancière's critique insofar as it impacts Deleuze's project, and to illustrate the difference between understanding cinema as a medium of thought and as a practice.

This article discusses Dicle Koğacıoğlu's 2004 essay "The Tradition Effect: Framing Honor Crimes in Turkey." It considers Koğacıoğlu's formulation of the "tradition effect" in the light of several other "effects" put forward by social theorists and philosophers: the "individual effect" (Foucault), the "society effect" (Althusser), the "knowledge effect" (Althusser), and the "state effect" (Mitchell). Through a reading of Georg Lukács's essay "The Moment and Form" and J. M. Coetzee's novel Diary of a Bad Year, the article introduces two further effects to be placed alongside these: the "subject effect" and the "shame effect." What links these different effects, the author argues, is that in every case the effect is closely tied to a process of naming or stepping forth— what is here called "instantiation." A theoretical account of instantiation is therefore necessary if we are to understand the logic that underlies these different effects. To this end, we need to pay special attention to shame; for shame, uniquely, comes into existence as a profound discordance with its own instantiation.

Taking issue with recent interventions on critical reading that appear caught between demolishing and reestablishing topographical modes of literary analysis, this article reexamines the approach of "symptomatic reading" as developed in Louis Althusser's reading of Karl Marx. Following Althusser, it offers a model for reading "generously" that is specific to a world in which the dominant forms of literary and cultural engagement have emerged alongside the novel as a form. The article revisits Walter Benjamin's "Theses on the Philosophy of History," as well as Alain Badiou's proposition of a "subtractive" reading, Paul Ricoeur's method of "recollection," and Gilles Deleuze's notion of the "image of thought" to argue that under current historical conditions the most pressing injunction is not to read "against the grain" but to read with it and that, furthermore, in so doing we remain faithful to the spirit of Benjamin's injunction to "brush history against the grain."

timothy bewes is Assistant Professor of English at Brown University and the author of Cynicism and Postmodernity (Verso,1997), and Reification, or The Anxiety of Late Capitalism (Verso,2002).

A review essay on a book by Luisa Passerini, Europe in Love, Love in Europe: Imagination and Politics in Britain between the Wars (London & New York: I.B. Tauris, 1999). Examines the possibility of comparing Britain's cultural and political discourse of the 1930s covered by Passerini's book and contemporary "millenarian" discourses in Britain. Addresses the methodological issues of cultural history versus the philosophy of history; three objectives of the book -- history, theory, and methodology -- that clarify her attempt to bring together theory, content and methodology; the figure and myth of Europa; the tension between eurocentrism and academicism; Serbian intellectual Mitrinovic's "New Europe Group;" Passerini's avoidance of making judgments based on historical hindsight; and the issue of "non-politics" in Passerini. Concludes that Passerini's refusal to compare contemporary Europe to that of the 1930s paradoxically highlights the need to evaluate the two debates and such a comparison's potential theoretical insights. R. Rodriguez