Pub Date : 2018-04-05DOI: 10.5040/9780571293766.40000066
J. Brenkman
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Pub Date : 2018-04-05DOI: 10.1163/2405-4453_alao_com_ala_40012_8_4
Martin Crowley
{"title":"Anon","authors":"Martin Crowley","doi":"10.1163/2405-4453_alao_com_ala_40012_8_4","DOIUrl":"https://doi.org/10.1163/2405-4453_alao_com_ala_40012_8_4","url":null,"abstract":"","PeriodicalId":232457,"journal":{"name":"Qui Parle: Critical Humanities and Social Sciences","volume":"235 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131517217","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 : 2018-04-05DOI: 10.1215/10418385-4208460
K. J. Brown
“Remember this,” Lucille Clifton’s poem “Fury” begins.1 The speaker then creates a vision of her mother tossing a “sheaf of papers,” “poems” into a fire, effectively ending all of her creative inclinations. “They burn,” the speaker-poet declares, and this burning is a symbol of the poet’s artistic rebirth into an entity filled with the fire of her mother’s lost artistic potential. “She will never recover,” we are told, and the following lines end the poem, but they propel the poet: “Remember, there is nothing / you will not bear / for this woman’s sake” (f, 45). “Fury” functions as a double elegy, once for black women’s creativity, and once for Clifton’s mother, who will die suddenly when Clifton is twenty-one and pregnant with her first child.2
{"title":"Furia","authors":"K. J. Brown","doi":"10.1215/10418385-4208460","DOIUrl":"https://doi.org/10.1215/10418385-4208460","url":null,"abstract":"“Remember this,” Lucille Clifton’s poem “Fury” begins.1 The speaker then creates a vision of her mother tossing a “sheaf of papers,” “poems” into a fire, effectively ending all of her creative inclinations. “They burn,” the speaker-poet declares, and this burning is a symbol of the poet’s artistic rebirth into an entity filled with the fire of her mother’s lost artistic potential. “She will never recover,” we are told, and the following lines end the poem, but they propel the poet: “Remember, there is nothing / you will not bear / for this woman’s sake” (f, 45). “Fury” functions as a double elegy, once for black women’s creativity, and once for Clifton’s mother, who will die suddenly when Clifton is twenty-one and pregnant with her first child.2","PeriodicalId":232457,"journal":{"name":"Qui Parle: Critical Humanities and Social Sciences","volume":"2013 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116911300","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 : 2017-12-01DOI: 10.1215/10418385-4208433
Patrick Lyons, Simone Stirner
It’s our thirtieth anniversary here at Qui Parle. Wondering how to honor this milestone—in a year that gave more reason for outcry than celebration—we turned to our title as a guiding frame: who speaks? Formulated as a question in the first weeks of 2017, this was, most immediately, a turn to thinking about speech today, be it free, double, or squarely violent. At the same time, it was a selfreferential move. Who speaks when Qui Parle speaks? From its beginnings, Qui Parle has been a deeply collective project, with an astoundingly rapid generational turnover, and to capture it in its broadest essence would prove nearly impossible. None of us currently on the board of editors has been around for more than five years, so in a sense, we approach this anniversary with something of a short-term memory. But perhaps these shortcomings are the best testament to pay to the future of this collectivity, that it might keep growing, expanding, giving voice. We decided to reach back in time, offering up the limits of our collective memory as the catalyst for reunion, and gathering past voices from across and throughout
{"title":"Who Speaks?: Thirtieth Anniversary Dossier: Interventions","authors":"Patrick Lyons, Simone Stirner","doi":"10.1215/10418385-4208433","DOIUrl":"https://doi.org/10.1215/10418385-4208433","url":null,"abstract":"It’s our thirtieth anniversary here at Qui Parle. Wondering how to honor this milestone—in a year that gave more reason for outcry than celebration—we turned to our title as a guiding frame: who speaks? Formulated as a question in the first weeks of 2017, this was, most immediately, a turn to thinking about speech today, be it free, double, or squarely violent. At the same time, it was a selfreferential move. Who speaks when Qui Parle speaks? From its beginnings, Qui Parle has been a deeply collective project, with an astoundingly rapid generational turnover, and to capture it in its broadest essence would prove nearly impossible. None of us currently on the board of editors has been around for more than five years, so in a sense, we approach this anniversary with something of a short-term memory. But perhaps these shortcomings are the best testament to pay to the future of this collectivity, that it might keep growing, expanding, giving voice. We decided to reach back in time, offering up the limits of our collective memory as the catalyst for reunion, and gathering past voices from across and throughout","PeriodicalId":232457,"journal":{"name":"Qui Parle: Critical Humanities and Social Sciences","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124832423","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 : 2017-12-01DOI: 10.1215/10418385-4208451
S. Oushakine
{"title":"How to Grow out of Nothing: The Afterlife of National Rebirth in Postcolonial Belarus","authors":"S. Oushakine","doi":"10.1215/10418385-4208451","DOIUrl":"https://doi.org/10.1215/10418385-4208451","url":null,"abstract":"","PeriodicalId":232457,"journal":{"name":"Qui Parle: Critical Humanities and Social Sciences","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134318504","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 : 2017-12-01DOI: 10.1215/10418385-4208496
Y. Wang
Scholars producing historical scholarship on race must confront and acknowledge the archives as a site of racialization themselves. How do we fight the colonialist and imperialist imperatives of history when the goals of its structures are to naturalize certain hierarchies of race? How do we negotiate our reliance on archives that often only included racialized subjects through lenses of suspicion? Is it possible, in other words, for a history of the racialized body to speak differently? A Race So Different, by Joshua Takano ChambersLetson, and The Racial Mundane, by Ju Yon Kim, suggest that performance studies offers alternatives.
{"title":"Performing Race, Speaking the Body: On Asian American Performance Studies and Everyday Racializations","authors":"Y. Wang","doi":"10.1215/10418385-4208496","DOIUrl":"https://doi.org/10.1215/10418385-4208496","url":null,"abstract":"Scholars producing historical scholarship on race must confront and acknowledge the archives as a site of racialization themselves. How do we fight the colonialist and imperialist imperatives of history when the goals of its structures are to naturalize certain hierarchies of race? How do we negotiate our reliance on archives that often only included racialized subjects through lenses of suspicion? Is it possible, in other words, for a history of the racialized body to speak differently? A Race So Different, by Joshua Takano ChambersLetson, and The Racial Mundane, by Ju Yon Kim, suggest that performance studies offers alternatives.","PeriodicalId":232457,"journal":{"name":"Qui Parle: Critical Humanities and Social Sciences","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133827328","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 : 2017-12-01DOI: 10.1215/10418385-4208424
M. Lucey
Where do the things we say come from, and who actually says them? In his endlessly fascinating 1979 essay, “Footing,” Erving Goffman suggested that we might do well to break down the commonplace notion of a “speaker” into a number of partials. He labels them “animator,” “author,” and “principal.”An animator is a “sounding box in use,” a “talking machine, a body engaged in acoustic activity, or, if youwill, an individual active in the role of utterance production.”An author is something different, “someone who has selected the sentiments that are being expressed and the words in which they are encoded.” Finally, a principal is the person “whose beliefs have been told . . . who is committed to what the words say”—someone who is willing, in today’s parlance, to own the words. If you find yourself possessed and uttering words coming from elsewhere, then you are an animator without being a principal or an author. If you tell someone what you more or less want to say, and they then write the speech that you later deliver, then they are the author, but you will be the animator and principal (at least partly). If you write and
{"title":"On Proust and Talking to Yourself","authors":"M. Lucey","doi":"10.1215/10418385-4208424","DOIUrl":"https://doi.org/10.1215/10418385-4208424","url":null,"abstract":"Where do the things we say come from, and who actually says them? In his endlessly fascinating 1979 essay, “Footing,” Erving Goffman suggested that we might do well to break down the commonplace notion of a “speaker” into a number of partials. He labels them “animator,” “author,” and “principal.”An animator is a “sounding box in use,” a “talking machine, a body engaged in acoustic activity, or, if youwill, an individual active in the role of utterance production.”An author is something different, “someone who has selected the sentiments that are being expressed and the words in which they are encoded.” Finally, a principal is the person “whose beliefs have been told . . . who is committed to what the words say”—someone who is willing, in today’s parlance, to own the words. If you find yourself possessed and uttering words coming from elsewhere, then you are an animator without being a principal or an author. If you tell someone what you more or less want to say, and they then write the speech that you later deliver, then they are the author, but you will be the animator and principal (at least partly). If you write and","PeriodicalId":232457,"journal":{"name":"Qui Parle: Critical Humanities and Social Sciences","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130780994","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 : 2017-12-01DOI: 10.1215/10418385-4208406
Avital Ronell
. . . A period of mourning has kept me away frommusic, so my head fills with static bombs instead. I usually like to work with some sort of sonic signature. A subtle incentive laying down a basic beat, musical accompaniment allows me to pummel at a stubborn knot in life. In his work on cryptonymy, Laurence Rickels has claimed that background music rings a death knell. That may be so. I’m always hitching a ride on the death drive—the flex of my drivenness—a sure fire way to language. Doing without the rhythmic support that music supplies has presented complications in the mostly monogamous relation to writing. Ach! Despite my willingness to integrate silence and random noise into phrasal regimes, I become a bit sissyish when drafts recede so that nothing on the order of language assertion comes my way. Plunk, plunk. OK, so I’m still learning. As panic shivers through me: muteness happens. In some sectors the mute burble constitutes an upgrade in the grapple with the poeticity of being. But, let’s face it, regressive sputtering rarely scores points on my beat. At most, I can make something of “muttering”—or, with ears tuned to the German language, “mothering”—and stick it onto the subphenomena that constitute
{"title":"The Time of My Life","authors":"Avital Ronell","doi":"10.1215/10418385-4208406","DOIUrl":"https://doi.org/10.1215/10418385-4208406","url":null,"abstract":". . . A period of mourning has kept me away frommusic, so my head fills with static bombs instead. I usually like to work with some sort of sonic signature. A subtle incentive laying down a basic beat, musical accompaniment allows me to pummel at a stubborn knot in life. In his work on cryptonymy, Laurence Rickels has claimed that background music rings a death knell. That may be so. I’m always hitching a ride on the death drive—the flex of my drivenness—a sure fire way to language. Doing without the rhythmic support that music supplies has presented complications in the mostly monogamous relation to writing. Ach! Despite my willingness to integrate silence and random noise into phrasal regimes, I become a bit sissyish when drafts recede so that nothing on the order of language assertion comes my way. Plunk, plunk. OK, so I’m still learning. As panic shivers through me: muteness happens. In some sectors the mute burble constitutes an upgrade in the grapple with the poeticity of being. But, let’s face it, regressive sputtering rarely scores points on my beat. At most, I can make something of “muttering”—or, with ears tuned to the German language, “mothering”—and stick it onto the subphenomena that constitute","PeriodicalId":232457,"journal":{"name":"Qui Parle: Critical Humanities and Social Sciences","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128030348","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}
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