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[…]practice so that this work can be “counted” (so to speak) down the line, when it comes to questions of academic advancement. I think this group has addressed, and will address, some of these concerns, so I’m going to focus on one question that concerns me: that of the ELO’s image in the wider literary and art world. I will be mostly asking questions, only some of which are rhetorical, and I will attempt to make a few provisional suggestions, though I’d rather see what arises from this conversation […]
[…]Speculum, titled “The New Philology,” brought the poststructuralist revolution to the study, and to the imagination, of the so-called Middle Ages. Authors and texts fragmented, parted ways entirely in some cases; the wickedly complex, seemingly endless textual variations engendered by manuscript copying and circulation in the period suddenly became not a jungle to be tamed but the source of critical fertility; and the problems that obsessed medieval scholars and poets–about divine authority, human will, originality, love, the social order, the nature of text–were themselves revived as sources of critical inspiration. In 1990, the medieval world changed, and it became much […]
[…]radioactive isotopes. Such moments are in the service of pulling down the vanity of both our comforting aesthetic illusions and what he sees as our cynical analytical metalanguages (those deriving chiefly from Marx, Nietzsche, and Freud), analytic codes that only lure us into the position of the Hegelian beautiful soul, calmly dissecting things from some lofty perch while disavowing any messy entanglement in the phenomena under scrutiny. Morton’s position here strikes me as a rather too-easy evasion, since one of the main purposes of the dialectic as it developed in Marx’s hands was to re-inscribe the subject into the material […]
[…]– can be codified and reproduced like any other technique, if a computer can be programmed to compose traditional sonnets, or sestinas, or terza rima, or Dickinsonian or Trakl-esque lyric, or Jamesian hypotaxis, or a hostile critic’s version of L=A=N=G=U=A=G=E writing, or the gnarly jargon of postmodern academic prose, then perhaps the computer’s encroachment on human uniqueness is most meaningful in its specific historicity: everything has been posited already, yes, only not in this particular way, at this very moment. It is incumbent on the writer not to mourn the loss here (of her or his exclusive control of language), […]
[…]loan contracts they read and sign before ever stepping foot in a classroom. As Williams notes, “[w]e might tell students that the foremost purpose of higher education is self-searching or liberal learning, but their experience tells them differently (129). When our students are asked to finance a $60,000 education with loans that will follow them into their forties, is it any wonder why they seem so concerned about the market value of their degrees? Students would be crazy not to be curious about how their diplomas will help them pay off their debt. Furthermore, Williams argues that students’ implicit interest […]
[…]“we” do—and it would be foolish to exclude the innovative potential of any of these attempts to come to terms with “our” new place within the current situation and environment—but the “critical” in critical posthumanism signals that it would be equally foolish to let go of the terrain that has always constituted the humanities’ stronghold, namely language and, for want of a better word, philology. The critical expertise that is arguably needed most in such uncertain and hyper-political times is the kind of radical but also caring critique of language practiced by poststructuralism and deconstruction at their best. In short, […]
[…]the latter” (25). And this relation can be represented by pharmacological inscriptions, for “[g]rammatization is irreducibly pharmacological” (Stiegler 42). To consider the role of work in a libidinal economy, Stiegler defers to Jean-Francois Lyotard’s The Postmodern Condition, but it might be just as instructive to consider Lyotard’s Libidinal Economy. In it, Lyotard claims, “there are no primitive societies or savages at all, we are all savages, all savages are capitalized-capitalists” (127). We would be mistaken to think of ourselves otherwise. How else would we account for the death drive, jouissance, perversities, and libidinal intensities? In a moment of self-reflection, Lyotard […]
[…]which presupposes representation, in a Spinozian pastiche they organize what is “common to and property of the human body and such other bodies as are wont to affect the human body” (Lorey 93). Developed in these encounters and exchanges, the multiplicities and singularities of precarious life manifest themselves around these common notions irrespective of neoliberal dispositifs. The refusal to be part of the state apparatus effectively functions to reject the normative framework of the state and produces a new and more liberating cooperative based around the notion of care. In line with Virno, this exodus in terms of massive defection […]
[…]keep something of their cultural strangeness when presented as free-floating elements in the wide and open sea of fan-based archives, and this openness is key to the possibility of their cultural reframing and appropriation in other contexts, with other means, for other objectives. A productive merger of both systems may be a workable solution, provided each of them can freely develop its own priorities (and it should be stressed that the film photo novel rogue archives are far from having realized all of their potential). A second, both traditional and radical perspective is the possibility to use the work on […]
[…]a cockfight in California, a bloodied, broken bird collapses at his feet. The frail Scott “scoop[s] up the dying bird like a loose fumble” and tries to outrun the mob “like they were Groton’s heavy-footed secondary,” O’Nan referencing a firm early Fitzgerald fantasy about prep school football heroics. Drunk and older, Scott “caught his toe on the wall going over, and before he could get up they were on him” (redolent of Dick Diver seriously beaten in a Rome police station in Tender). West of Sunset readers continually wince at Scott’s battering from such moments, as well as the emotional […]