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1.
ABSTRACT

In this article, I examine Catherine Malabou’s concept of trauma, and argue that her replacement of the Freudian unconscious with the cerebral unconscious might fit adequately into a different framework from the one she proposes. Comparing her view of pathology to that of Georges Canguilhem, I propose a dimensional reading of pathology. Building on this – and by reference to metaplasticity – I ask whether one can explain the mechanisation characteristic of the new wounded mechanistically. I then look at her exchange with Slavoj ?i?ek to get at Malabou’s understanding of psychoanalysis. She seeks to realign Freud and neuroscience to resolve issues with both. As part of this shift, she introduces the term ‘the Material’ – linked to the cerebral unconscious – as an alternative to the Lacanian triad of Real, Symbolic, and Imaginary. She does, however, leave it underdeveloped, and I argue that this points to tensions in her theory. While her concept of plasticity runs against ideas of an isolated transcendental subject exempt from the outside, Malabou seems to literalise (or ‘corporealise’) trauma. If this is correct, then how radical is her concept of trauma, and are there ways of describing trauma that are equally compatible with her concept of plasticity?  相似文献   

2.
Abstract

The essay approaches recent discussions of ‘life’ and biopolitics from the historical context of early 20th century German vitalist thought. By closely analysing the concept of the ‘drive’ in art historian Wilhelm Worringer's Abstraction and Empathy (1908) and Sigmund Freud's Beyond the Pleasure Principle (1920), the essay shows how the paradoxes of those texts prefigure and contribute to the contemporary problematic of ‘life’ in theoretical discourse across the humanities. In Worringer and Freud, the drive is an ‘elastic’ concept stretching beyond – and yet constitutive of – the epistemological object (‘life’) that it is called upon to describe. The distortion of the drive in each author's thought – from an impulse of organic vitality to a principle of inorganic primordiality – manifests the contradictory ‘life’ of vitalist concepts themselves in their elastic potential for transformation, regression and contradiction.  相似文献   

3.
Abstract

The establishment of the European Union, reunification of Germany, and Germany's extension of dual citizenship to immigrant minorities provided challenges to the country's understanding of itself as a nation. In negotiating these changes, debates on citizenship frequently centered on definitions of German culture. Using the concept of Leitkultur (guiding culture), conservatives argued that Germany should reject multiculturalism and stem immigration. This essay analyzes discourses on cultural policy in Germany through a contextual and textual analysis of the film Mostly Martha. In its alignment with aesthetic conventions of the art house food film, Mostly Martha participates in the debate on cultural citizenship and embodies changes in the German film industry that have moved German cinema toward increased commercialism. The film's main character, Martha, is transformed through an intercultural relationship and a trip to Italy. We argue that the film's citation of this well-known tradition of traveling south to redeem oneself and its treatment of ethnic “Otherness” engages in the Leitkultur debate and participates in the transition from national German to transnational cinema. Through the utopian treatment of Italian food, the film fetishizes cultural difference and reaffirms fixed constructs of nation and gender, thereby avoiding an explicitly politicized engagement with intercultural citizenship and identity.  相似文献   

4.
In this paper, I contest the analytic relevance of the term ‘eurocentrism’ to the contemporary phenomenon of globalisation by examining a distinction between ‘place’ and ‘space’. The clash of these two concepts is explored in a controversial review of Gayatri Spivak's latest book by Terry Eagleton. I argue that Eagleton's understanding of Marxist theory implies an intellectual placed at the centre of a sphere of cognitive sovereignty, and that his critique of Spivak consists in suggesting that, by removing herself from this centre, she has rendered her own discourse unintelligible. In contrast, Spivak, as (in part) a poststructuralist, emphasises space over place. I discuss the gains and losses – as well as the dangers – involved in such an emphasis, and conclude by insisting that poststructuralism cannot be a universally applicable meta-theory, but is in fact ideally suited to attesting to the place in which it finds itself.  相似文献   

5.
The history of spiritualist sound experiments – from nineteenth‐century ‘trumpet manifestations’ to contemporary ‘electronic voice phenomena’ – represents a sustained engagement with electrical noise and its psychic, linguistic, and media‐technological implications. While the study of noise generally focuses on music and cinema sound, in which its transgressive nature is often recuperated back into artistic production, spiritualist efforts to record so‐called transmissions from the dead illustrate the ways in which noise resists conscious mediation or artistic representation. A closer study of their methods and practices shows that the real, physical‐acoustic nature of voice phenomena even resists the spiritualists' own attempts to translate and interpret these noises as coherent ‘messages’. Through an examination of the history of spiritualist sound experimentation in the Nineteenth Century and its continued practice following the development of the radio and tape recorder in the Twentieth Century, this paper argues that the spiritualists' enduring fascination with noise exposes the connections between sound technologies, psychic phenomena and schizophrenic hallucinations which pose a threat to the autonomy and integrity of the listening and speaking subject.  相似文献   

6.
Abstract

Both fans and critics of Lars von Trier's work would likely agree with his capacity to make his audience suffer. This essay canvasses the devices through which the suffering of women in von Trier's melodramas is rendered excruciating to watch. Drawing on Deleuze's influential account of masochism, the first part of the essay discusses how von Trier's film Dogville foregrounds the complicated relationship that suffering has with pleasure and power. The second part of the essay focuses on the temporal dynamics of melodrama and the creative ways in which Lars von Trier disturbs the rhythms of suffering on screen. In particular I argue that von Trier introduces intervals of ‘dead time’ that make the passage of time itself painful to the audience and that open up a larger cultural history of temporal disorder. This part of the essay looks back to von Trier's early experiments with time in Psychomobile 1: The World Clock (2000) and forward to more recent innovative play with time and movement in Melancholia (2011) to make the case for rethinking the temporal dimensions of mediated suffering and the significance of time in the work of Lars von Trier.  相似文献   

7.
Abstract

This essay revisits the question of post-Shoah responses to cataclysm in light of the now-urgent question of transmission – the shift in mourning and memory between first-generation survivors and later generations. Offering a different but complementary analysis to those in trauma or memory studies, I argue that post-Shoah witness and testimony are acts of ‘irreconcilable mourning’. This sense of mourning departs from post-Freudian approaches that focus on closure. Instead, irreconcilable mourning is a non-totalising approach to loss that resists ‘redemption’ and instead necessitates an ongoing, creative, and critical response to loss. In the course of this argument, I examine first-generation accounts such as Primo Levi's and Elie Wiesel's to highlight the necessity and contingency of transmission by interrogating concepts such as the ‘unsayable’ and the remnant. I then focus on Art Spiegelman's second-generation Maus: A Survivor's Tale, bringing cross-generational questions of witness and testimony as acts of irreconcilable mourning into the fold of Marianne Hirsch's ‘postmemory’ and Edith Wyschogrod's heterological history-telling.  相似文献   

8.
ABSTRACT

Catherine Malabou's opinion of non-essentialist models of gender identity and art is unambiguous: in her words, they are ‘catastrophic’ to women and to artists (Malabou [2014]. ‘Sujet: Femme'. de(s)générations des féminismes 21, 29-38: 135). What, then, are the implications of Malabou's hallmark concept of ‘plasticity’ on theories of performativity? Has plasticity come to supplant performativity, just as Malabou believes that it has come to supplant Derridean writing? Or if, as Malabou suggests, philosophical concepts are inherently plastic, may we maintain that performativity was always already plastic? In the following article, I read Malabou's work on writing alongside her work on the feminine in order to question how plasticity and performativity might be examined together to theorise the ways in which the discursive and the material interact in the production of subjectivities. By highlighting the performativity at play within Malabou's own writing about the end of writing, I propose that her work challenges her claim that literature cannot deconstruct philosophy. In response to Malabou's anti-essentialist plastic theory of the essence of woman, I underline the parallels between performativity and plasticity and suggest that the two concepts overlap in their mutual configuration of identity and form as mutable and transformable.  相似文献   

9.
What if World Cinema was a cinema, a global movie theatre called the World Cinema? This is the imaginative leap taken in two works of fiction published in Uruguay at the end of the 1920s: the ‘Prologue’ to Felisberto Hernández’s experimental Books without Covers (1929), and ‘The Cinema Seen from the Screen’ (1930) by Alberto Mario Ferreiro. Both texts construct scenarios of fantastic, impossible cinematic spectatorship that are nevertheless situated within early twentieth-century Uruguay’s unusual political climate and the global phenomenon of the avant-garde. The fantastical points of view constructed by Ferreiro and Hernández work to interrogate both the promises and the perils of spectatorship in a medium whose circulation was becoming increasingly global.  相似文献   

10.
Here, representations of Black masculinity and emasculation are explored on NBC’s Parenthood. We question whether depictions of Black masculinity represented through Parenthood’s character, Alex, are empowering or stereotypical; how do they reflect, destabilize, and/or reinforce heteronormative depictions of Black community members? Two seasons were analyzed using Owen’s thematic analysis. Ultimately, Black males are portrayed as being societal failures, criminals, violent, and hypersexualized through his character. This embodiment ultimately preserves long-held images of Black men as “Toms, coons?…?bucks?…?as oversexed, aggressive, violent, animalistic, or emasculated” (Jackson, R. L. II. 2006. Scripting the black masculine body: Identity, discourse, and racial politics in popular media. Albany, NY: State University of New York Press). Practical recommendations and suggestions for researchers and media practitioners are provided.  相似文献   

11.
In recent years, questions of ‘character’ have become increasingly prominent in a range of policy contexts, from education to social welfare and from business to healthcare. What unites these various contemporary paens is an assumption that building ‘character’ is a crucial component of ethics and that it holds the key to establishing and maintaining virtuous conduct; moreover, that the cultivation of ‘character’ is at best under-valued and at worst actively undermined and denigrated in any number of contemporary economic and organizational practices. In this paper, we seek to interrogate key aspects of this upsurge of interest in ‘character’ as it has been articulated in particular recent and on-going debates about the reform of organizational life. We argue that this ‘turn’ suffers precisely from an abstraction and lack of contextual specificity – not simply in relation to questions of ‘character formation,’ but also in regard to matters of organization, and indeed the relationship of the one to the other – that severely curtails both its ethical reach and explanatory power.  相似文献   

12.
In this essay we argue that there is an important but frequently overlooked link between Walter Benjamin’s and Julia Kristeva’s attempts to explore new modes of critical practice. What connects Benjamin and Kristeva, in our account, is a vital concern with the cost of critique, that is, with the question whether critical agency in its most productive modes is inherently related to certain forms of ethical violence. We aim to show that, once we read them together, these authors’ pivotal contribution consists of offering an alternative model of critique animated by an ethos of in(ter)-vention, which is keyed to techniques of criticism that are both disruptive and innovative. Ethical violence here refers to a strategic displacement of moral self-perception, which undercuts people’s aspirations toward maintaining a morally robust character in the face of political adversity and social injustice. To illustrate the stakes of such displacement, we turn to the figure of the ‘anti-journalist’ Karl Kraus whose in(ter)ventions display integrity in action rather than integrity of character. Specifically, under the rubric of ethical violence, we propose a dynamic interpretation of Kraus’ performance in terms of polemical witnessing, which combines the corrosive aspects of Benjamin’s ‘destructive character’ with the constructive aspects contained in Kristeva’s notions of ‘sharing singularity’ and ‘intimate revolt’.  相似文献   

13.
ABSTRACT

This is the first academic paper to critically introduce and document the 30-year screen career of Pauline Chan, Australia’s highest profile Chinese film director, television actress and media producer. Sydney-based, Vietnam-born, Hong Kong-educated and US-trained, Chan has directed six films, starred in 14 and produced four television series and films. Despite her prolific career, there has been no sustained research on her profile and repertoire. This paper evaluates the evolution of Chan’s career using the diaspora ‘advantage’ as a new approach. Characterised by mobility rather than culturalism, the term refers to the benefits brought by and skills of diaspora groups that have allowed them to flourish as transnational actors able to leverage resources in both their countries of origin and settlement. It begins by elaborating how Chan’s diaspora advantage has allowed her to challenge welfare multiculturalism and extend aesthetic multiculturalism. It further documents her transition from a multicultural filmmaker to a cultural intermediary by leveraging her diasporic advantage across the film sectors in China and Australia, and opening up new industrial routes outside of the confines of policy. Using interdisciplinary methods to screen biography that include interviews with the filmmaker, film archival research, critical cultural policy studies, and studies in Asian Australian cinema and political economy, this paper argues that the new approach of the diaspora advantage turns the deficit associated with the diaspora into a dividend that has the potential to rethink the imaginary between Asia and Australia.  相似文献   

14.
Abstract

This essay reads two differing conceptions of subjectivity in Frantz Fanon's work as corresponding to a shift in subjective orientation in certain moments of crisis, from what I term a unified individual – the subject of psychoanalysis – to a dispersed subject, the frenzied participant in collective activity. I believe that such a potential duality within the subject is best adopted when analysing Fanon's oeuvre, as well as when examining a subject's behaviour as participant in forms of unstructured collective protest such as rioting. Whereas the unified subject of psychoanalysis best expresses the consciously self-reflective individual in society, the dispersed subject expresses a subjectivity operating in excess of individualism. This dispersed subject acts collectively, as an object moving in tandem with other objects, without individual reflection. I argue that this shift comprises the initial spark of insurrection suggested in Fanon's work, the moment in which he sees the people pitched ‘in a single direction, from which there is no turning back’; and what Jean-Paul Sartre calls the explosive moment of ‘conflagration’. The two subject positions between which the subject shifts exist as two potential sides of every subject and comprise the ‘Manichean’ world in which Fanon's subject is entrenched.  相似文献   

15.
While originally Lacan seconds Heidegger's contention that ‘anxiety has no object’, in the early 1960s, he dismisses his own earlier position as a childish reassurance and argues, to the contrary, that ‘anxiety is not without an object’. With particular attention to his use of the double negative, ‘not without’, this essay examines this turning point in Lacan's thinking in order to explain the opposition between his psychoanalytic critical theory and Derrida's deconstruction. The arguments that Lacan brings to bear on his work of the 1950s closely approximate those that Derrida levels against Heidegger in the formulation of his own concept of ‘the aporia of the impossible’. Indeed, as commentators often emphasise, the formal logic of Lacan's later thinking is strictly isomorphic with Derrida's philosophy; and their respective concepts of anxiety and aporia are frequently misconstrued, accordingly, as simply identical. However, insofar as Lacan discerns a content in this formal negativity, contesting the idealism of his earlier theory and reasserting the materialist objectivity of the Freudian ‘lost object,’ as intractably Real, the two do not coincide. On the contrary, Lacan's repudiation of Heidegger's concept of anxiety extends equally to Derrida's aporia, as if, for Derrida, Heidegger's existential phenomenology were not reassuring enough.  相似文献   

16.
Over the last two decades the field of ‘Girard studies’ – the application of René Girard's theories on mimetic desire and sacrificial violence to cultural artifacts – has tended to focus increasingly on Biblical texts and theological implications of Girard's interpretation of Christianity as a ‘theory of man.’ After summarizing Girardian theory in its current form, this essay stresses the applicability of the theory to François Furet's reading of the crisis of bourgeois culture and to Pascal Bruckner's reading of the malaise of the post Cold War world and the ethnic crises associated with the break‐up of the former Yugoslavia. This essay also demonstrates how Girardian theory illuminates the recent historical and judicial crises associated with France's efforts to come to terms with the memory and legacy of the collaborationist Vichy regime during World War II. The essay concludes with a brief assessment of the advantages as well as the pitfalls of employing Girardian theory to demystify the crises of modernity.  相似文献   

17.
This article examines the role of noise in various aspects of Jean‐Luc Godard's filmmaking practice. Beginning with an analysis of 2 ou 3 choses que je sais d'elle (1966), it suggests that the loud noise on the soundtrack functions to disrupt the search for meaning in this film that is precisely about knowledge and cognition, providing an image of thought as an unpredictable and uncontrollable process. The influence of 1970s theoretical biology and information theory is analysed in Sauve qui peut (la vie) (1979) which applies Henri Atlan's ‘order from noise’ principle to the composition of shots, the construction of scenes and the development of narrative. Finally Godard's presentation of a complex, deterritorialised capitalist economy is considered in Nouvelle Vague (1990), and it is suggested that Godard's creation of aesthetic events – both through editing and through sound design – implies a different conception of temporality to the sequential logic of financial speculation and risk management.  相似文献   

18.
This paper analyzes China’s attempt at maintaining and stabilizing the market framing of wind power development as ‘sustainable.’ Drawing on mixed data and new directions in the social studies of marketization, the analysis focuses on the Chinese government’s responses to the ‘quality crisis’ in the wind turbine industry. Employing five types of framing – goods, marketizing agencies, market encounters, price-setting, and market design and maintenance – the paper sheds light on flexible government interventions to steer the socio-technical assemblage around wind power towards a ‘turn to quality.’ In essence, this is a study of market construction in the context of Chinese wind power experiments. The paper contributes to new directions in market studies by (1) demonstrating the importance of attending to the contested algorithmic transformation of wind resources to wind power; (2) taking market studies to a transitional and developmental context, which renders marketization prone to constant overflowing; and (3) elucidating a particular Chinese model of experimental market construction ‘through embracing overflowing.’ The paper proposes new trajectories for future market studies with a focus on non-Western contexts, to reveal the wide variety of how marketization unfolds.  相似文献   

19.
This paper examines the tension between the materiality of information and communications technologies and the hyperreality which they are thought to produce. The setting for our analysis is Indonesia, where the most recent innovations in communications technologies co-exist alongside ancient – but still functional – ‘predecessor’ devices. Building upon Benedict Anderson's work on late-colonial Indonesia and Chandra Mukerji's work on seventeenth-century French formal gardens, we examine how the national imaginaries specific to Suharto's New Order state are embedded in the materiality of the present.  相似文献   

20.
Abstract

This essay reads Rosi Braidotti's philosophical nomadism from a decolonial perspective with the goal of uncovering the irreducible colonial difference which underlies the Eurocentric ontological vision embedded in Braidotti's reading of Gilles Deleuze. In particular, I read Edouard Glissant in tandem with Deleuze through the notion of the ‘middle’, a key concept which grounds the three thinkers' ontology of multiplicity. To this end, I borrow Nelson Maldonado-Torres' Fanonian critique of Eurocentric ontology and show how Braidotti fails to escape from the trap of Eurocentrism due to her inability to capture the abyssal and totalitarian character of coloniality imprinted in the cry of the damné. Against Braidotti's simplistic misreading of Glissant as a future-oriented constructivist, I argue that the enigmatic trope of Relation in Glissant opens up at the middle space of groundlessness constituting the ontological edifice of the colonial subject: revealing the abyssal middle in which the ineffable experience of shared suffering never stops haunting the freeing knowledge of relation.  相似文献   

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