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1.
This essay’s purpose is to recover Fiskean deconstructive criticism as a means of examining the complexities of texts. Specifically, we argue that Lost in Translation’s moments of spectacle reveal that even in a text that reinforces White Orientalist views of Japan, the text’s obtuse meanings subvert, though not upturn, this dominant narrative. The film’s text reifies heteronormative masculinity and femininity with the blending of the pre- and postmodern Japan, yet obtuse meanings subvert the Western gaze and present hybrid queer spaces that complicate Western neocolonial domination. Subversion cannot completely overturn those meanings, but guerrilla opportunities allow for tactical resistance.  相似文献   

2.
Fantasies and especially excessive or ‘phantascistic’ fantasies, as they are referred to here, have the power to suppress within political communities, consciously and unconsciously alike, inner antagonisms in times of crisis. More precisely, they help to blur aporias within the ideological structures of a community through the evocation of a sensus communis (Kant) that establishes the community anew, similar to an act of religious conversion. Their impact on the space of reasons is analysed in this article as one that does not take part in the game of giving and asking for reasons, but operates in the background of communal reason via an emotionally and clandestine ‘code’ of what it means to be ‘We?…?– We who we are’. Next to theoretical elaborations of how and why these phantascistic fantasies are produced, the theory will be further explained through a series of exemplifications demonstrating the way that it has played out across a long history of conflict in the Middle East and a shorter history of contemporary politics in the United States. Through all of this, the aim is to illustrate how very concrete excessive fantasies have an impact on a body politic's form of enjoyment.  相似文献   

3.
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   

4.
In the exhibition ‘One-Way Ticket (2015)’, New York’s Museum of Modern Art (MoMA) presented African-American artist Jacob Lawrence’s series Migration (1941). However, despite a curatorial intention to do otherwise, MoMA’s exhibition diminished Lawrence as an artist and his Migration series as art by defining Lawrence as an African-American ‘painterly-historian’, rather than an American artist looking to an international art scene. This article examines ‘One-Way Ticket’ and compares Migration with exhibitions of Otto Dix’s 1924 Der Krieg series to demonstrate the racial bias undergirding even an honest attempt to pay homage to an artist outside of a white modernist mainstream. With the acknowledgement of profound differences in impact and scale, this article contends that there is a parallel between MoMA’s ‘One-Way Ticket’ and the consistent assumption of African-American otherness to a white norm undergirding today’s climate of racial unrest.  相似文献   

5.
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   

6.
Recent debates in economic sociology have focused on the question of long-term calculation specific to capitalism. With a renewed interest in Max Weber’s work, particularly his seminal essay, The protestant ethic and the spirit of capitalism, scholars such as Arjun Appadurai and Jens Beckert have analysed calculative devices intrinsic to long-term accounting. Appadurai highlights the charismatic figure of the financial player who speculates on uncertainty, the same realm of uncertainty that in Beckert’s work becomes intelligible through the creation of market fictions. In this paper, I instead explore calculation as it unfolds in bazaars selling contraband and pirated electronic goods. Based on an ethnographic account of Delhi’s Lajpat Rai market, Palika Bazaar, and Nehru Place, I argue that calculation in the pirate bazaars is of a short-term nature and oriented to an embedded economic rationality that is closely entangled with the longue durée of everyday life. Rather than future-oriented fictions, small-scale traders employ moral stories and piracy-related discourses to meet day-to-day survival needs.  相似文献   

7.
This paper examines Duchenne de Boulogne's Mécanisme de la physionomie humaine (1862) as a limit case between Foucauldian epistemes of signification. Electrically inducing ‘expression’ in his subject's face, Duchenne, a neuro-physiologist, claimed to have discovered the true ‘orthography’ of the passions. He photographed and published his experiments to offer the art world a positivist corrective to the historically ‘arbitrary’ representation of emotion. The narrative accompanying the photographs provides the basis for this analysis which focuses on how Duchenne used the image/text idea of an ’orthography‘ to shape his technologically mediated expressions with a Renaissance and Classical poetics of resemblance and representation. Making an analogy with linguistic ‘units’, Duchenne located a scene of writing under the facial flesh where action was ‘transfigured’ into passion. The Classical debate on the origin of language and the Renaissance physiognomic tradition inspired his discourse, which failed to grasp the modernity of his technologically mediated passions.  相似文献   

8.
This article explores the multiple modes of valuation that pervade newsmaking in economic journalism. It does so by exploring the different ways in which journalists at Valor Econômico, the leading economic newspaper in Brazil, compete and cooperate in the production of news. Valor is a paradigmatic case for discussing valuation practices in newsmaking since its institutional promise is to produce news of value. How, if at all, do Valor journalists embrace the promise of producing news that generates value? Elaborating on Stark’s (2009. The sense of dissonance. Accounts of worth in economic life. Princeton University Press) idea of dissonance, it is contended that different orders of worth collide and cooperate within Valor newsroom. Moreover, journalists engage in a variety of valuation practices through which these orders of worth are shaped, defined, and refined, reflecting different understandings of economy and society, and different conceptions of what journalism is good for. I argue that Valor’s direction intentionally fosters a plural space of value dissonance in order to improve the quality of news reporting. I emphasise, however, that these dissonances are only productive against a larger background of consonance about what actually there is to disagree about. The article is based on a seven-month ethnography of Valor’s newsroom in São Paulo between 2013 and 2015.  相似文献   

9.
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   

10.
Abstract

The frequently assumed premise that Georges Bataille engaged solely in a primarily subject‐centred critique is not here disputed; rather, our contention is that in spite of this, we may look beyond and push Bataille to his own limits to ground a kind of object‐centred critique. If this textual experiment is successful, we come to see a nascent version of transcendental empiricism at work in Bataille’s work, effectively functioning as an unacknowledged precursor to the more sophisticated and explicit version of transcendental empiricism that Gilles Deleuze engages. Our aim is to focus on Bataille’s Inner Experience as a pivotal moment wherein his critique of transcendence could go either way, and to determine whether a ‘Bataillean transcendental empiricism’ would result in different outcomes than Deleuze’s version.  相似文献   

11.
This paper explores the possibilities offered by recent Science and Technology Studies (STS) research on markets for engaging with market innovation. Although there exist few reflections on how innovation happens in markets, market innovation has not been singularly theorized in STS-inspired market studies. In this paper, we explore the potential analytic utility of different sets of ideas in the field of market studies, such as ‘framing’ [Callon, M. (1998) ‘Introduction: the embeddedness of economic markets in economics’, in The Laws of Markets, ed. M. Callon, Blackwell, Oxford, pp. 1–57; Callon, M. (2007) ‘An essay on the growing contribution of economic markets to the proliferation of the social’, Theory, Culture & Society, vol. 24, no. 7–8, pp. 136–163], ‘productive friction’ [Stark, D. (2009) The Sense of Dissonance: Accounts of Worth in Economic Life, Princeton University Press, Princeton, NJ] and ‘bricolage’ [MacKenzie, D. & Pardo-Guerra, J. P. (2014) ‘Insurgent capitalism: Island, bricolage and the re-making of finance’, Economy and Society, vol. 43, no. 2, pp. 153–182]. Drawing on our research into the online personal data industry and start-ups developing personal data control products, we put together five sensibilities that we think are of use for broader considerations of market innovation.  相似文献   

12.
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   

13.
This essay addresses the controversial status of subjectivity in Esposito’s affirmative biopolitics and articulates it using Recalcati’s psychoanalytical theory, with the aim of promoting a non-vitalistic affirmative biopolitics. In biopolitical theory in general, and in Esposito’s especially, subjectivity has a problematic status: while life precedes intersubjectivity, it is not clear whether subjectivity is regarded as a consequence or as the precondition of intersubjectivity (and thus of life). Esposito acknowledges such an aporia, the subjectum suppositum, but fails to recognise it in his own reasoning, ultimately envisioning a powerful interpretative and transformative paradigm – affirmative biopolitics – whilst leaving at its core a life-less subject. In this essay, I read Esposito’s affirmative biopolitics through Recalcati’s clinical approach to the ‘new symptoms’, with the aim of envisioning a subjectivity compatible with the ontogenetic primacy of life posited by biopolitical theory. Ultimately, the aim of this article is to suggest that an affirmative biopolitics, grounded on the promotion of neither a pre-subjective bare life, nor of a lifeless subject, but of a fully subjective life, a living subject is possible.  相似文献   

14.
Drawing on Pierre Bourdieu's theory of aesthetic judgment, this text offers an inductive account of financial reasoning inside a trading room. Driven to maximise bank profits, trading room operators do not find ‘one best way’. Rather they choose among several possible winning strategies: mathematical arbitrage, economic analysis, chartist analysis. These strategies differ sharply from one another in their conception of the market, method, proximity to scholarly knowledge, and legitimacy. We show that the choice of one method depends on a system of tastes and distastes that are both historical – depending on individuals’ social and educational background – and relational – depending on the individual's relative position within the trading room viewed as a field.  相似文献   

15.
Abstract

Three New York films of the Great Depression and its aftermath, 42nd Street (1932, Lloyd Bacon), Dead End (1937, William Wyler), and The City (1939, Ralph Steiner and Willard Van Dyke), embodied a new political aesthetics in screening urban democratic spaces during moments of social breakdown. This article draws from urban and cinema studies, as well as from social and cultural theory (Lefebvre, Benjamin, Kracauer), to show how these films contributed to a discourse of urban planning and cinematic democratic aesthetics on the possibility of an egalitarian, inclusive, participatory community in diverse city spaces. The article argues that the reshaping of this cultural discourse, through the films’ emphasis on the conflicting material domains of the skyline and the slum, came at the cost of undermining the metropolis and, in The City, of limiting the urban spaces of democracy.  相似文献   

16.
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   

17.
ABSTRACT

Metaphors of ‘face’ are often found in South Korea’s fair trade activism, as fair trade is frequently described as ‘face-to-face commerce’ and its goal is presented as pursuing ‘global trade with a human face.’ By asking how and why fair trade relies on the metaphors of face, this article analyzes the political implications and limits of the trope. I first examine the intimate connection between gift-exchange and face based on Marcel Mauss’s analysis of the gift and I present face as a locus of symbolic recognition and politics. Next, drawing on ethnographic research into Beautiful Coffee, the largest fair trade organization in South Korea, I illuminate fair trade as a hybrid practice of ‘marketized gift-exchange’ in which the various faces of producers and consumers are produced and circulated along with market transactions. In examining the meanings of those faces, I maintain that the prevalent metaphor of face in fair trade betrays the contradictory nature of market-based solidarity that is sought through the activism to redefine the whole economic structure based on moral and ethical practices.  相似文献   

18.
This essay argues that Lee Edelman's 2004 Edelman, L. 2004. No Future: Queer Theory and the Death Drive, Durham: Duke University Press. [Crossref] , [Google Scholar] No Future, while most well known for challenging the heteronormative fantasy of reproductive futurism, also performs a systematic critique of Lacanian ‘sexual difference’. This essay tracks that critique, showing its moments of success and of failure, and concludes that Edelman's neologism – the sinthomosexual, whose jouissance he believes to be capable of undoing the symbolic order – in fact supports rather than challenges it.  相似文献   

19.
Using Carbaugh’s (2005. Cultures in conversation. Mahwah, NJ: Lawrence Erlbaum; 2007. Cultural discourse analysis: Communication practices and intercultural encounters. Journal of Intercultural Communication Research, 36(3), 167–182) cultural discourse analysis and Petronio’s (2002. Boundaries of privacy: Dialectics of disclosure. Albany, NY: State University of New York Press) Communication Privacy Management (CPM) Theory, this study highlights four cultural premises that garner intercultural privacy management between foreign English language teachers (ELTs) and Japanese coworkers (JCWs) in Japan. The analysis revealed that ELTs: (a) expected not to be a “free space” for privacy inquisition by JCWs, and (b) expected voluntary reciprocity in (egalitarian) workplace relationships. JCWs viewed: (a) privacy inquisitions as acts of kindness/caring and (b) soliciting help from a supervisor as providing opportunities for better care. This study calls for attention to intercultural privacy management and enhances CPM’s cultural criteria.  相似文献   

20.
William James (1919) characterises hypotheses as either live or dead. A hypothesis is live when it is taken into account as a ‘real possibility’. We follow James’ suggestion to not attribute intrinsic properties to hypotheses, but rather investigate how they came into being and look at the effects they generate. Expectations of digital technologies are a topic of vivid debate in the insurance industry. Before these expectations can become ‘live’, they have, in the first place, to be generated by market devices. We investigate how the reinsurance blogpost platform Open Minds functions as an ‘expectation generation device’ on the future of insurance markets. Combining Beckert’s work on the role of fictional expectations with the pragmatist turn in sociology of markets, we propose to study ‘expectation generation devices’, provoking expectations on economic markets. In our empirical analysis, we demonstrate the explicit fictional character of the Open Minds contributions, and analyse how a contained space of openness is generated to provoke expectations. We demonstrate how Open Minds can become live through circulation to other expectation generation sites in the insurance industry and beyond. We conclude by reflecting on the importance of expectation generation devices as a particular type of market devices.  相似文献   

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