PRESS
Recent work in the social sciences inspired by Deleuze, by the study of complexity and uncertainty, and by advanced Foucauldian and Lacanian logics (c.f. for some examples, Rose 1996; Nobus and Quinn 2005; Sorenson, 2005; Law and Mol, 2006: Blackman et.al.,2008: Frosh, 2010) represents the most mobile and effervescent end of the continuum. These approaches eschew the idea of identity, identity groundings and formations in favour of the study of sensuous activity, technologies of the self, the assembling of actor-networks and the ‘reality’ of incoherence as primary analytics.
, Theorising Identities and Social Action, Palgrave Macmillan 2009
Dany Nobus and Malcolm Quinn suggest that it is in this in between-ness - the recognition that the terms of knowledge are precisely what stands in the way of knowledge - that is the distinctive characteristic of psychoanalytic knowledge . . . If we apply this way of thinking about knowledge to the use of psychoanalysis in social research, or to the nature of academic practice more generally, we might ask : what kinds of ignorance are hidden within our methodologies and our edifices of knowledge? What are the unknown dimensions of this knowledge?
, Psychoanalysis in Social Research: Shifting Theories and Reframing Concepts 2011
Indeed, as what Malcolm Quinn (1994) calls a migratory image, the brand is continuously being placed and displaced; while having ambitions to define its own context as universal, it only becomes visible, recognizable and mobile through processes of selection and exclusion.
‘Marking Time with Nike: The Illusion of the Durable’ The Blackwell Cultural Economy Reader Wiley-Blackwell 2003
Nazism (and by extension Fascism/fascism) was a revolutionary force, offering, in Brown's own words, ‘new forms of expression', and a ‘recoding’ of identities. It highlights the central role played by the invasion of socio- psychological space by the symbology of fascism, giving a new dimension to the superbly documented analyses of this process already carried out, for the fasces by Emilio Gentile and the Swastika by Malcolm Quinn.
‘Fascism an Anti-Culture’ Renaissance and Modern Studies, 42 Autumn 2001
Quinn mit frappanter Sachkenntnis als Selbsterfahrungstrip der "arischen" Germanen, die schon überall ihre Standarten aufgestellt haben wollen - beispielsweise im alten Troja, weil Schliemann da einschlägige Krakel ausbuddelte. Hitler wußte, welche Saite er in den Deutschen anschlug, als er den Mythenträger zum Staats-Logo erhob und zum knüppelnden Kreuz stilisierte. Und der Schoß ist fruchtbar noch, aus dem das kroch: Auf Glatzen rollt das Rad weiter, nun als Ornament der Furchtbarkeit.
‘Hitler’s Firmen Logo’, Der Spiegel 52, 1994