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1.
Edward Said is the literary critic most cited by American anthropologists, but there has been relatively little anthropological examination of his concept of culture. Apart from an isolated attempt by Lila Abu‐Lughod to ‘write against culture’, most anthropologists have ignored Said’s approach. In Culture and Imperialism, Said draws on Matthew Arnold’s ‘best of the best’ definition, while American anthropologists owe their holistic culture to fellow Victorian Edward Tylor. Claude Levi‐Strauss is praised by Said, but other major anthropological approaches to culture are ignored. Said assumes anthropology is on the wrong side of the colonial divide, although he holds out hope for those who are now reading the work of literary and cultural critics. In this essay I compare Said’s reading of anthropology, exemplified by Kipling’s Colonel Creighton, to the influence of Bronislaw Malinowski and Franz Boas on ethnographic method.  相似文献   

2.
Abstract

The imagining of space has been an important topic in recent geographical studies. Especially in the geographical study of literature, ‘literary geography’, the manner of contesting the frames of ‘fact’ and ‘fiction’ has aroused more and more attention during recent years. Metafiction, consciousness of a text’s own imaginativeness and the discourses behind it, has not yet been explicitly discussed in the field of literary geography, although some tangential approaches have been applied. The main purpose of this paper is to discuss how the metafictive reading of literature functions as an alternative way of approaching the imagining of space, offering an original ‘methodological’ viewpoint for perceiving space, culture and society. The specific focus is on how space becomes metafictive through literary ‘means’ such as divergent narrative and textual strategies, exceptional typographies and ironic writing. At the same time the paper considers how the metafictive continuum between the frames of ‘fact’ and ‘fiction’ may function as a tool for delving more deeply into the discursiveness of the human imagination.  相似文献   

3.
Abstract

In Latin America, collective remembering is shaped by stories of colonizers whose voracious ambitions left an indelible mark on the landscape and its people. This essay examines a set of narratives about a legendary colonizer, Lope de Aguirre, that continue to be invoked in the collective imagination on the island of Margarita, in Venezuela. Drawing on Bormann's Symbolic Convergence Theory and Bakhtin's work on cultural discourse, this analysis shows that on the one hand, the narratives converge to support official records of Aguirre as an archetype of colonial brutality. Yet on the other, alternate versions of the stories reveal a more discordant picture, one that complicates Aguirre's character and reevaluates his influence on the island and in the wider context of Latin America.  相似文献   

4.
This essay charts the evolution of colportage in Walter Benjamin's body of writing. Originally referring to a form of popular literature peddled by travelling salesmen, Benjamin morphed the term into the ‘colportage phenomenon of space’, where he endowed it with a more abstract connotation referring to a form of embodied perception that could bridge distinctions between near and far and past and present, giving one access to ‘the whole of world history’. By holding a magnifying glass to this term, this essay elucidates the relevance of colportage in its historical context and unpacks its manifestations in Benjamin's essays, with iterations that often confuse boundaries between the material and the phenomenological. This essay further clarifies how Benjamin's handling of colportage exists alongside his studies of surrealism and his explorations into experience in modernity.  相似文献   

5.
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   

6.
When Tahar Djaout was gunned down in front of his Algiers apartment building on 26 May 1993, Algerians were stunned and enraged. A massive and public outpouring of grief ensued, a mountain of elegiac writing was produced, and the terrible moment of this writer's death was frozen, preserved as the moment that defined his life. Instantly, Tahar Djaout became a literary martyr and a kind of secular saint. My text explores the mediating role of the relic (the bone) in Djaout's texts, and, in turn, it will consider the text itself as a relic and site of mediation between the author and reader, and between the dead and the living. Djaout was the author of five novels and several books of poetry and short fiction, as well as being a founder and editor of the newspaper Ruptures, which disappeared shortly after his death.  相似文献   

7.
ABSTRACT

What is the role of imagination in the constitution of finance capitalism? How do the fictions, myths, and (ir)rationalities of finance shape society's ability to imagine the future in the face of mounting political instability? Well over a decade since the Global Financial Crisis of 2008, today's financialised economies are still marred by stagnation and uncertainty. Against this backdrop, the increasingly speculative nature of economic forecasting, and the accelerated trading of promises of all sorts (from algorithmic and derivative markets to contemporary electoral politics) put the role of imagination centre stage. This special issue contends that, contrary to conventional wisdom, imagining the future is not necessarily equal to ‘fantasising' or to ‘irrational exuberance' or the ‘animal spirits'. Rather, it points to something much more fundamental: the power of finance to produce new social and political morphologies under conditions of radical uncertainty. The articles of the special issue confront these issues by mapping out a novel field of investigation into different, unique types of imagination undergirding finance capitalism in the years since its most recent crisis: from the future-making practices of mineral exploration and agricultural derivative markets, to the imagined futures of financial education programmes, the financialisation of creative work, and the role of future-oriented legitimacy in today’s populist politics.  相似文献   

8.
ABSTRACT

This essay analyses two Singaporean graphic novels which represent the motivations and processes of creating and marketing cartoons, Sonny Liew's The Art of Charlie Chan Hock Chye (2015), a retrospective of the life and work of a fictional artist, and Troy Chin's ongoing autobiographical series, The Resident Tourist (begun in 2007). The analysis focuses on how Liew and Chin represent creative work and its relationship to Singaporean identity, focusing on how each negotiates one of the central contradictions of the creative industries in Singapore, the problem of how creativity can be conceptualised and practised within a society in which, for decades, pragmatism has been systematically valued and imagination devalued. There are three main ways in which both Liew and Chin construct, in very different ways, new creative worker and Singaporean identities which resonate with readers around the post-industrial world. The first is through subtle challenges to the Western, individualised ‘genius’ model of the creative worker. The second is through the creation of modes of address that encompass both Singaporean and non-Singaporean readers, and make all readers complicit in the project of constructing Singaporean identity. Third, both Liew and Chin reimagine the relationship between Singaporean and creative worker identities through simultaneously using and subverting the idea of national allegory.  相似文献   

9.
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   

10.
In late 2012, Santino J. Rivera published a collection of Chicana/o literature as a cultural and political response to the closure of Mexican American Studies in the Tucson Unified School District. This essay argues that Rivera's text invites critical interrogation of the whiteness ideologies underlying critiques of MAS in an attempt to make spaces for Chicana/o sensibilities. Such sensibilities, this essay argues, include In Lak'ech and mestiza rhetorics, which emphasize cultural empowerment, identification, spiritual love, and humanization.  相似文献   

11.
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   

12.
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   

13.
Abstract

Based on the theoretical concepts of imagined communities (Anderson, 2006), public sphere (Habermas, 1962/1991), and muted groups (Kramarae, 1981), this essay looks at issues of identity and identity formation of the largest European minority—the Roma, or Gypsies. The essay argues that, similarly to the European identity project, the Roma are actively building a transnational identity without abandoning national identities. Although this model can be a valuable blueprint for increasingly globalizing societies, it is neglected as a possibility because of Roma's marginal social status. Further exploration of self-organized Roma identity-construction is advised.  相似文献   

14.
This essay examines an aspect of the historical trajectory of Papua New Guinea's creole language Tok Pisin. A medium key to colonisation, pacification, and nationalisation, Tok Pisin's fortunes as a ‘real’ language in popular perception can be tracked through the orthographic choices that have clarified or obscured the etymological connections to the colonial, English-language past. Scholarly approaches to Tok Pisin and other creole languages have concentrated on the orthographic reflection of the regularities of structure that index ‘full’ languaged-ness and modern national autonomy. In contrast to this project of linguistic nationalisation, contemporary Tok Pisin speakers are developing repertoires of speaking/writing that invoke Tok Pisin's connections to Australian English even as they do not conform to it, an enregisterment of forms obscuring the boundaries between Standard English and Tok Pisin. As a convention used by youth in SMS and similar contexts, this practice subverts a prior generation's language ideology by pairing the lateral connections of new media with a repudiation of creole orderedness.  相似文献   

15.
This essay traces several productive points of overlap and departure between the recent philosophical work of Judith Butler and ecological thinking. While ecological philosophers and theorists have often dismissed Butler's treatment of politics and ethics as narrowly anthropocentric, this essay charges that there are considerable conceptual resources within Butler's oeuvre that are not only in accord with much recent ecological theorising but which also stand to enrich our approaches to ecological thinking and politics. Focusing specifically on three conceptual clusters – exposure and precarity; infrastructure and coexistence; and assemblies and assemblages – this essay demonstrates how Butler's work can be leveraged to augment the ways we approach both ecosystems and our more-than-human cohabitants as elements of and actors within the dynamic play of forces that make coexistence more or less possible.  相似文献   

16.
In this paper I argue that thinking about the material in cultural economy has much to gain from culture itself. Specifically, I explore the potential of literary narrative for conceptualizing and writing material within a performative cultural economy. Drawing on the industrial short stories of Primo Levi (The Periodic Table, The Wrench, A Tranquil Star), I provide a literal reading of these works, highlighting their foregrounding of material encounters, the importance of process (and not just product), and materials’ instability in process, and their connections to theorizations of economies as assemblage. The paper also explores how Levi writes material to presence using the techniques of narrative discourse, particularly mimesis. The paper concludes by arguing that narrative is a means to writing a performative cultural economy and that cultural economy needs to rekindle the arts of story-telling. Paying attention to literary narrative shows how this might be achieved.  相似文献   

17.
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   

18.
In this essay, I examine through Bruno Latour's concept of nonmodern networks the intersections of the hyper-modernity of Hong Kong's ‘real’ money economy with that of an economy of ghost-money that, through the act of burning, serves as an offering to the dead and the divine. The essay reconfigures Latour's ‘modern constitution’ as it relates to philosophy, myth and modernity as they are organised around the values of a currency that trespass all boundaries.  相似文献   

19.
Abstract

This essay analyzes the contemporary constructions of Latina/o identity, Latina/o gender and Latina/o nationality as evidenced in the self-proclaimed “first major studio comedy to reflect the Hispanic cultural experience in America,” Chasing Papi. The contradictions between the film's progressive mission and the film's representations are teased out by a cross-reading of the film's usage of the popular Chicana/o mythic figure, La Llorona. Invoking La Lorona as muse and means, we find that the Latin Lover stereotype succeeds in its anti-assimilationist task while concurrently furthering confusion on who and what is a U.S. Latina/o. However, the authors also demonstrate how cultural cross-readings can provide hope out of delimiting discursive constructions.  相似文献   

20.
In 1973, German historian Arno Peters unveiled the “Peters projection,” a map that challenged the Eurocentric Mercator style by redrawing the so-called “Third World” to appear more prominent on the global landscape. The projection sparked intense debate among cartographers about the overt use of ideology in mapping, while simultaneously championed by international groups (from the UN to church organizations) as a corrective against the marginalization of developing nations. This essay addresses how the Peters map became a rhetorical emblem for an internationalist identity within the contentious spatial conceptions constraining the Cold War. Ultimately, the Peters projection, despite its radicalism, constituted a “recolonization” that supported logics of Western liberal development in the Third World.  相似文献   

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