Pub Date : 2024-01-04DOI: 10.1353/dia.2022.a916404
P. Lorenz, Eliseo Valdés Erustes
Abstract:Valdés’s work is abstract and speaks in part to earlier traditions including cubist art, even as it transports us most pointedly to his native Cuba, and to a series of what he describes as “visual enigmas” emerging specifically from contemporary realities. Both his public sculptures and installations restructure the space around them: on the one hand quoting a longer tradition of work, including the geometrical cubes of classic modern sculpture, while on the other hand moving beyond that history and transporting earlier twentieth-century ideas about materiality and spatial abstraction in late modern global cultural and ecological forms and in sites not previously considered.
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Pub Date : 2024-01-04DOI: 10.1353/dia.2022.a916403
Fernando Gomez Herrero, Frank B. Wilderson
Abstract:Frank Wilderson: I introduce a semiotic configuration. The point is, at important levels of abstraction, people who are positioned as Black—which is very different from saying people who think of themselves as Black. One of the basic premises of Afropessimism, which makes it resonate with psychoanalysis or Marxism, is that where one is positioned in a paradigm might not be where one thinks one is or where one desires to be. When I teach undergraduates, I say: “Look, I used to study neorealism. In these neorealist films, we have these people who are bona fide fascists, and then you have those people in the Communist Party, so they could not agree on much. They don’t see themselves as having much of a connection. But in a Gramscian sense, they are both positioned as the host of capitalist parasites. Both groups rely on the wage. So, they are both workers.” One of the big points with respect to the narratological question is that I, as a Black person, trained at Columbia University in creative writing, trained at UC Berkeley in critical theory, love narrative, but narrative does not love me. In other words, it is impossible for me to be “emplotted” as a speaking subject. I can only be “emplotted” as an object of narrative. But I am always struggling to attain that love of humanity; and if I were to attain it, the Human would not have a foil against which to know itself. So, what I am saying is that in a book like Red, White & Black, I am just being very categorically clear about the divisions. In Afropessimism, I am actually talking about the desire of a sentient being who cannot be allowed into an arena where people are recognized and incorporated, in Lacanian terms, as “contemporaries” of human beings. So, there is all this back and forth. I don’t think this speaking subject in Afropessimism ever achieves anything in particular. It is always struggling toward being a subject that can actually travel on a narrative arc and yet ultimately is an object that can never travel from dispossession to redemptive recovery.
{"title":"The Afropessimist Never Drinks the Kool-Aid of Black Enlightened Progress: An Interview with Frank B. Wilderson III","authors":"Fernando Gomez Herrero, Frank B. Wilderson","doi":"10.1353/dia.2022.a916403","DOIUrl":"https://doi.org/10.1353/dia.2022.a916403","url":null,"abstract":"Abstract:Frank Wilderson: I introduce a semiotic configuration. The point is, at important levels of abstraction, people who are positioned as Black—which is very different from saying people who think of themselves as Black. One of the basic premises of Afropessimism, which makes it resonate with psychoanalysis or Marxism, is that where one is positioned in a paradigm might not be where one thinks one is or where one desires to be. When I teach undergraduates, I say: “Look, I used to study neorealism. In these neorealist films, we have these people who are bona fide fascists, and then you have those people in the Communist Party, so they could not agree on much. They don’t see themselves as having much of a connection. But in a Gramscian sense, they are both positioned as the host of capitalist parasites. Both groups rely on the wage. So, they are both workers.” One of the big points with respect to the narratological question is that I, as a Black person, trained at Columbia University in creative writing, trained at UC Berkeley in critical theory, love narrative, but narrative does not love me. In other words, it is impossible for me to be “emplotted” as a speaking subject. I can only be “emplotted” as an object of narrative. But I am always struggling to attain that love of humanity; and if I were to attain it, the Human would not have a foil against which to know itself. So, what I am saying is that in a book like Red, White & Black, I am just being very categorically clear about the divisions. In Afropessimism, I am actually talking about the desire of a sentient being who cannot be allowed into an arena where people are recognized and incorporated, in Lacanian terms, as “contemporaries” of human beings. So, there is all this back and forth. I don’t think this speaking subject in Afropessimism ever achieves anything in particular. It is always struggling toward being a subject that can actually travel on a narrative arc and yet ultimately is an object that can never travel from dispossession to redemptive recovery.","PeriodicalId":11350,"journal":{"name":"Diacritics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-01-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450735","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-04DOI: 10.1353/dia.2022.a916401
Vero Chai
Abstract:Sylvia Wynter ends her monumental essay “‘No Humans Involved:’ An Open Letter to My Colleagues” (1994) with an urgent call to address the dire condition of the jobless and poor: “We must now undo their narratively condemned status.” Who are “we”? The sentence separates the university and its “narratively condemned” other. In fact, what the pronoun “we” in the open letter refers to is situated and far from universal, for it is “we in academia” that institute the Western imperial constructs of race and class through “rigorous elaboration” of the present order of knowledge, the one that fails to register its misfits as humans, thus demoting them to the category of N.H.I. (“no humans involved”). I take Wynter’s letter as a point of departure by attending to its mode of address, its conscious use of the pronoun “we,” in light of her genealogy of the Eurocentric conceptions of humanity fundamentally entrenched in university vocation. In so doing, I re-raise the ethical and existential questions around the university, that is, its accountability for the enduring abjection of the N.H.I.-categorized Other, as well as the purpose and very reason for its being as an institutional structure.
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Pub Date : 2024-01-04DOI: 10.1353/dia.2022.a916402
Francesco Zucconi
Abstract:In recent years, the concept of the border has undergone profound transformations and become central to a broad debate investigating the complexity of its political and social practices. The centrality of the border topic in public debate has contributed to the development of something akin to a “frontier cinema” or, better, a propensity for “filming at the border.” This essay investigates political borders as media environments and seeks to develop the idea of the “border mediascape” as a new framework at the crossroads of multiple disciplines. A documentary film shot on the island of Lampedusa during the so-called European migrant crisis, the award-winning and critically acclaimed Fuocoammare (Fire at Sea, 2016) by Gianfranco Rosi, is used as a case study to reflect on the functioning of technological devices placed along borders and, thus, on the geopolitics of environmental media. The original take this documentary offers on the media devices that operate along national borders—as well as on the environmental, social, and political effects of those technologies—is an aspect that has gone unnoticed by critics. Watching this film through the eyes of media and border studies provides the opportunity to conceive contemporary national borders as a form of geopolitical asymmetry implanted in media technology.
{"title":"Hot and Cold Borders: Sketches for a Geopolitics of Environmental Media","authors":"Francesco Zucconi","doi":"10.1353/dia.2022.a916402","DOIUrl":"https://doi.org/10.1353/dia.2022.a916402","url":null,"abstract":"Abstract:In recent years, the concept of the border has undergone profound transformations and become central to a broad debate investigating the complexity of its political and social practices. The centrality of the border topic in public debate has contributed to the development of something akin to a “frontier cinema” or, better, a propensity for “filming at the border.” This essay investigates political borders as media environments and seeks to develop the idea of the “border mediascape” as a new framework at the crossroads of multiple disciplines. A documentary film shot on the island of Lampedusa during the so-called European migrant crisis, the award-winning and critically acclaimed Fuocoammare (Fire at Sea, 2016) by Gianfranco Rosi, is used as a case study to reflect on the functioning of technological devices placed along borders and, thus, on the geopolitics of environmental media. The original take this documentary offers on the media devices that operate along national borders—as well as on the environmental, social, and political effects of those technologies—is an aspect that has gone unnoticed by critics. Watching this film through the eyes of media and border studies provides the opportunity to conceive contemporary national borders as a form of geopolitical asymmetry implanted in media technology.","PeriodicalId":11350,"journal":{"name":"Diacritics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-01-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450522","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-04DOI: 10.1353/dia.2022.a916400
M. Tuhkanen
Abstract:This essay argues that Baldwin’s Another Country evinces his search for a connective principle (of the self to self and others) beyond what the representatives of Western tradition, from the Oracle of Delphos to twentieth-century theorists of ideology, have called “knowledge” (gnosis). Baldwin’s novel seemingly promotes the redemptive role of knowledge in inter- and intrapersonal relations, both by having such privileged characters as Ida Scott announce its importance as an ethical principle and by structuring the narrative so that it concludes in a moment where the barriers to the novel’s heterosexual, interracial couple are swept aside in an epiphanic moment of mutual “understanding.” To highlight the problems with knowledge, the essay turns to passages in Proust, Conrad, and Wright that are echoing in Another Country; and points to a moment in the novel and in one of Baldwin’s interviews where an alternative connective principle—one of “looking together”—is elaborated.
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Pub Date : 2023-10-03DOI: 10.1353/dia.2022.a908410
Natalie Lozinski-Veach
Abstract:Since the development of modern trauma theory, the limits of the human have worn increasingly thin. Today, mounting evidence of psychological injuries in other species poses new challenges for trauma studies. How might we think trauma beyond the human? What would such an effort unsettle, which epistemic structures would it destabilize? Reading Cathy Caruth with Jacques Derrida and W.G. Sebald, this essay considers nonhuman trauma as an apostrophic address that provokes radical uncertainty. The inherently aporetic structure of trauma theory cannot a priori exclude this address without fixing in place, and therefore undoing, its own foundations. Address-ability in the face of animal trauma hinges on the collapse of all certitudes, rendering possible responses rooted in something other than power. Such exposure turns us away from the familiar, toward the ungraspable traumatic histories that are catching up with us in this very moment of climate change and mass extinctions.
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Pub Date : 2023-10-03DOI: 10.1353/dia.2022.a908406
Michael G. Levine
Abstract:Derrida’s “What is a ‘Relevant’ Translation?”, first delivered at the fifteenth annual Assises de la Traduction Littéraire à Arles in 1998, is an address that appears at first to speak from the outside and with a certain deference to professional translators. Yet, it quickly becomes apparent that Derrida not only counts himself among them but uses the occasion to reflect on his own surprising success as a translator of Hegel. This success has to do first and foremost with the proven “relevance” of his translation of the notoriously untranslatable term Aufhebung as relève [in English: sublation]. Not a little perplexed by this apparent triumph, Derrida takes up the French term again, this time redeploying it in the translation of a crucial line from Shakespeare’s Merchant of Venice. In doing so, he relaunches his engagement with Hegel, asking what energies bound up in the concept of relève might yet be released, what internal resistances silently at work in it might still be mobilized to take it in an entirely new direction. Such an engagement enables him to explore in turn what resistances may be at work in the notion of translation itself. Inhabited by an internal otherness, by a constitutive resistance to itself, translation must be understood from the very first as transference. While translation studies have long been attentive to the transferential dynamics in which individual translators find themselves enmeshed, Derrida’s text views transference in more impersonal terms as the tenacious grip in which certain structures of thought hold us, structures which also inform our understanding of translation. How to work with and against this structural unconscious? To address this question, it is necessary to examine Derrida’s own translational practice and the privilege he accords to the term trouvaille.
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Pub Date : 2023-10-03DOI: 10.1353/dia.2022.a908408
Mariaenrica Giannuzzi
Abstract:In this essay I analyze citational practices around Heinrich von Kleist in Italian postmodern theater and Italian feminist biopolitics. In this realm, the reference to Kleist performs a gesture of interruption of traditional eroticism (Catholic, modern, based on women’s sexual slavery), in particular, by using and rewriting Kleist’s narrative of the Amazons, the legendary tribe of women who would cut their breast to embrace the art of war. Postmodern citations of Kleist introduce a new language around sexuality instead of reenacting the ferocious narrative embedded in the ancient icon. The essay conducts a contrastive reading of two postmodern versions of the Kleistian Amazon in Italy: the first version is Lina Mangiacapre’s and Angela Putino’s philosophical conversation in “Androgina/Amazzone” as well as in Mangiacapre’s stage plays; the second version is Carmelo Bene’s cycle of performances on Achilles’s “necrophilia.” While intellectuals like Laura Mulvey in the UK and Gilles Deleuze in France tend to condemn Kleist for his necrophiliac account of romantic love, in Italy Kleist’s pessimistic image of romantic relationships offers a queer standpoint to develop a sustained critique of violent forms of desire.
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Pub Date : 2023-10-03DOI: 10.1353/dia.2022.a908409
Christina Chalmers
Abstract:Marx’s concept of bird-freedom or Vogelfreiheit—drawn from German legal history in which it meant “outlaw status”—describes the situation of free labor as “doubly free”: not enslaved as well as landless. The metaphorical valences of his satirical emphasis on the cynicism of the idea of “free labor” returns in many of Marx’s other satirical reworkings of concepts which refer to the state of nature. This essay looks at two such concepts engaged in explaining the process of “primitive accumulation” in Capital, Volume 1: the notion of the idyll (“idyllic relations” or “idyllic proceedings”) and the notion of outlawry as “bird-freedom.” The essay exemplifies the ways in which both moments constitute “natural-historical images,” in Theodor Adorno’s terms: a concept of hybridity, historical texture, and transition that might add to the scholarship on Marx’s philosophy of nature.
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Pub Date : 2023-10-03DOI: 10.1353/dia.2022.a908411
L. Dubreuil
Abstract:Renaud, the illuminator. Renaud, the chronicler. “JXR” is not exactly recording facts and documents, although he often paints on the basis of “found images,” taking digital photos he collects from websites as a basis for his own work. He is not an archivist either, although he uses collage and routinely incorporates pictures or logotypes into his digital drawings. The chronicling work remains. In Renaud’s oeuvre, the times are being shown in all their glorious stupidity. An optimist nevertheless, the artist exhibits through the grotesque dehiscence of the ordinary the raw nature of survival. By his alliance of artistic métier and critical force, of iconoclastic crudeness and reflection on society, of laughter and precision, Renaud’s art is undoubtedly related to that of Honoré Daumier, George Grosz, or Philip Guston. JXR has in common with all three painters that he excels at displaying the ridicule of adventitious grandeur and the vulgarity of the norm.
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