{"title":"Katherine Busse, Framing Fan Fiction","authors":"A. Morrow","doi":"10.20415/RHIZ/035.R05","DOIUrl":"https://doi.org/10.20415/RHIZ/035.R05","url":null,"abstract":"","PeriodicalId":315328,"journal":{"name":"Rhizomes: Cultural Studies in Emerging Knowledge","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127081218","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}
{"title":"The Specter of Black Fatherhood in 12 Years A Slave","authors":"Amy Tahani-Bidmeshki","doi":"10.20415/RHIZ/035.E01","DOIUrl":"https://doi.org/10.20415/RHIZ/035.E01","url":null,"abstract":"","PeriodicalId":315328,"journal":{"name":"Rhizomes: Cultural Studies in Emerging Knowledge","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116964257","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}
{"title":"Spinoza as Savage Thought","authors":"C. Segovia","doi":"10.20415/RHIZ/035.E04","DOIUrl":"https://doi.org/10.20415/RHIZ/035.E04","url":null,"abstract":"","PeriodicalId":315328,"journal":{"name":"Rhizomes: Cultural Studies in Emerging Knowledge","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130597908","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}
{"title":"Societies of Disindividuated Hyper-Control: On the Question of a New Pharmakon","authors":"Ekin Erkan","doi":"10.20415/RHIZ/035.R02","DOIUrl":"https://doi.org/10.20415/RHIZ/035.R02","url":null,"abstract":"","PeriodicalId":315328,"journal":{"name":"Rhizomes: Cultural Studies in Emerging Knowledge","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121495881","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}
This paper looks at the disappearance of working-class women from the dominant imaginary of literary and popular fiction and argues that this figure has been displaced by a contemporary interest in girlhood. I analyze contemporary fictions of young white women that engage with and challenge ideas of normative American girlhood in late capitalism, showing how the texts take up issues of sexual oppression and pathology, maternal failure, and consumerism that sometimes destabilize but more often normalize economic oppression. In February 2016, the Huffington Post published a blog entry by Leo Girard, the International President of United Steelworkers, entitled “TPP would further Emasculate America,” in which America’s working-class past is mourned as an emasculation — its once “big shoulders” now “stooped” as “America’s tool makers and freight car builders are furloughed.” This imagining of the American working-class in masculine terms is not new, but it is surprising to see such an uncritical association of working America with masculinity in the 21 century. In the past forty years, this frame for understanding the intersection of class, labor and gender has been disrupted by new economic structures, civil rights movements, and feminism. And yet, as historian Elizabeth Faue has argued, until recently even labor historians “remained committed to an understanding of class consciousness and class politics that was public, production-centered, and predominantly white and male” (20). Similarly, in her essay, “Class Absences,” Vivyan Adair argues that the working class has most often been symbolized by “families with male heads of households” those “rough,” “diligent workers” that “embody and enjoy independence, legal heterosexuality, autonomy, logic, and order . . . ‘respectability. . . frugality, decency and self-discipline’” (25). These traditional depictions put distance between the working class and more diverse but also more stigmatized images associated with those at the bottom of the socioeconomic hierarchy. Moreover, these popular images often hold in place the associations of class and whiteness so that workingclass iconicity is not only resolutely masculine, but historicized through the white racial frame. Adair asks us to consider the consequences of imagining class oppression in terms of “white male injury” for the poor women who are excluded from this image of class oppression and more likely to be portrayed as economic and sexual deviants. Comparably, the best-selling works of Sheryl Sandberg's Lean In and Hannah Rosin's The End of Men gave recession-era prominence to stories of professional working women on the rise, but these texts are relatively free of the images and voices of working-class and poor women. Focused on the rise of women in the corporate workplace and the “end of men,” these authors marginalize the stories of women who work at the bottom of the economic pyramid. No images that match those of the past such as Dorothea Lang
{"title":"“Finding Your Way When Lost”: Class and the American Girl","authors":"Ann Kennedy","doi":"10.20415/rhiz/034.e05","DOIUrl":"https://doi.org/10.20415/rhiz/034.e05","url":null,"abstract":"This paper looks at the disappearance of working-class women from the dominant imaginary of literary and popular fiction and argues that this figure has been displaced by a contemporary interest in girlhood. I analyze contemporary fictions of young white women that engage with and challenge ideas of normative American girlhood in late capitalism, showing how the texts take up issues of sexual oppression and pathology, maternal failure, and consumerism that sometimes destabilize but more often normalize economic oppression. In February 2016, the Huffington Post published a blog entry by Leo Girard, the International President of United Steelworkers, entitled “TPP would further Emasculate America,” in which America’s working-class past is mourned as an emasculation — its once “big shoulders” now “stooped” as “America’s tool makers and freight car builders are furloughed.” This imagining of the American working-class in masculine terms is not new, but it is surprising to see such an uncritical association of working America with masculinity in the 21 century. In the past forty years, this frame for understanding the intersection of class, labor and gender has been disrupted by new economic structures, civil rights movements, and feminism. And yet, as historian Elizabeth Faue has argued, until recently even labor historians “remained committed to an understanding of class consciousness and class politics that was public, production-centered, and predominantly white and male” (20). Similarly, in her essay, “Class Absences,” Vivyan Adair argues that the working class has most often been symbolized by “families with male heads of households” those “rough,” “diligent workers” that “embody and enjoy independence, legal heterosexuality, autonomy, logic, and order . . . ‘respectability. . . frugality, decency and self-discipline’” (25). These traditional depictions put distance between the working class and more diverse but also more stigmatized images associated with those at the bottom of the socioeconomic hierarchy. Moreover, these popular images often hold in place the associations of class and whiteness so that workingclass iconicity is not only resolutely masculine, but historicized through the white racial frame. Adair asks us to consider the consequences of imagining class oppression in terms of “white male injury” for the poor women who are excluded from this image of class oppression and more likely to be portrayed as economic and sexual deviants. Comparably, the best-selling works of Sheryl Sandberg's Lean In and Hannah Rosin's The End of Men gave recession-era prominence to stories of professional working women on the rise, but these texts are relatively free of the images and voices of working-class and poor women. Focused on the rise of women in the corporate workplace and the “end of men,” these authors marginalize the stories of women who work at the bottom of the economic pyramid. No images that match those of the past such as Dorothea Lang","PeriodicalId":315328,"journal":{"name":"Rhizomes: Cultural Studies in Emerging Knowledge","volume":"89 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134561645","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}
This essay argues that Jonathan Fetter-Vorm’s Trinity: A Graphic History of the First Atomic Bomb (2012) iconizes nuclear science in specific ways. In the first section the essay examines modes of visuality that gives us a view of the scientist, the science and the contexts in which the two operate. The second section examines how the text unpacks a set of values, including those around politics, diplomacy and war, that determine and are determined by the science unleashed at Trinity. In the final section, the essay focuses on the political symbolism of the bomb. Jonathan Fetter-Vorm’s Trinity: A Graphic History of the First Atomic Bomb (2012) demonstrates an interesting use of the medium of the graphic novel to study the political, social and scientific history of the Manhattan Project and the first atomic bomb. Candida Rifkin argues in her reading of Trinity and accompanying graphic scientific biographies such as Jim Ottaviani et al’s Fallout: J. Robert Oppenheimer, Leo Szilard and the Political Science of the Atom Bomb (2001): these works construct the figure of the scientist as a visual icon who is also a seeing subject. I propose that we consider scientific graphic biography as a specific genre that installs a biographical eye (as opposed to the auto/biographical I) to convey the complex relationship between empirical knowledge and affective experience that shapes lives caught between science and politics. (Rifkind 2) Rifkind’s focus is on the portrait of Oppenheimer, on his ‘mythologization’ (7). Oppenheimer was the icon of the atomic age and images of the scientist as hero abounded, even during his ‘dark years’ at the hands of the US government. Instances of such iconization, writes David Hecht, allowed people to see him as something other than just a scientist. Interestingly, such contextualization did not stem from an anti-science impulse—Oppenheimer remained very much a scientific icon. Perhaps paradoxically, however, his fans needed to sense a persona outside of science in order to admire him as a scientist. (945) However, Trinity, I suggest, iconizes science as much as it iconizes the scientist, as the present essay seeks to demonstrate. By ‘iconize’ I mean lending a larger-than-life, quasi-mythic status meaning to the scientist and the science. I take iconization to include the semiotic arrangements of texts such as Trinityi, with Oppenheimer depicted as the gaunt, obsessive brooding, solitary ‘hero’, akin to the Romantic and/or Byronic, in many panels. But I also use iconize to signal the political understanding (by America, primarily) of the central role (to be) played by nuclear science itself in the remaking of the world order. The link between a ‘pure’ science project to the political symbolism of the A-bomb that Fetter-Vorm highlights, especially when depicting the American concerns around the Second World War and the putative effect of the bomb, and the subsequent Japanese surrender, are significant geopolitical events that in
如果奥本海默的车顶上的火舌起到了中介作用，那么尖端发光的香烟则指向了人类的生产
{"title":"Graphic Science: Trinity and the Art of the Atomic Bomb","authors":"P. Nayar","doi":"10.20415/RHIZ/034.E08","DOIUrl":"https://doi.org/10.20415/RHIZ/034.E08","url":null,"abstract":"This essay argues that Jonathan Fetter-Vorm’s Trinity: A Graphic History of the First Atomic Bomb (2012) iconizes nuclear science in specific ways. In the first section the essay examines modes of visuality that gives us a view of the scientist, the science and the contexts in which the two operate. The second section examines how the text unpacks a set of values, including those around politics, diplomacy and war, that determine and are determined by the science unleashed at Trinity. In the final section, the essay focuses on the political symbolism of the bomb. Jonathan Fetter-Vorm’s Trinity: A Graphic History of the First Atomic Bomb (2012) demonstrates an interesting use of the medium of the graphic novel to study the political, social and scientific history of the Manhattan Project and the first atomic bomb. Candida Rifkin argues in her reading of Trinity and accompanying graphic scientific biographies such as Jim Ottaviani et al’s Fallout: J. Robert Oppenheimer, Leo Szilard and the Political Science of the Atom Bomb (2001): these works construct the figure of the scientist as a visual icon who is also a seeing subject. I propose that we consider scientific graphic biography as a specific genre that installs a biographical eye (as opposed to the auto/biographical I) to convey the complex relationship between empirical knowledge and affective experience that shapes lives caught between science and politics. (Rifkind 2) Rifkind’s focus is on the portrait of Oppenheimer, on his ‘mythologization’ (7). Oppenheimer was the icon of the atomic age and images of the scientist as hero abounded, even during his ‘dark years’ at the hands of the US government. Instances of such iconization, writes David Hecht, allowed people to see him as something other than just a scientist. Interestingly, such contextualization did not stem from an anti-science impulse—Oppenheimer remained very much a scientific icon. Perhaps paradoxically, however, his fans needed to sense a persona outside of science in order to admire him as a scientist. (945) However, Trinity, I suggest, iconizes science as much as it iconizes the scientist, as the present essay seeks to demonstrate. By ‘iconize’ I mean lending a larger-than-life, quasi-mythic status meaning to the scientist and the science. I take iconization to include the semiotic arrangements of texts such as Trinityi, with Oppenheimer depicted as the gaunt, obsessive brooding, solitary ‘hero’, akin to the Romantic and/or Byronic, in many panels. But I also use iconize to signal the political understanding (by America, primarily) of the central role (to be) played by nuclear science itself in the remaking of the world order. The link between a ‘pure’ science project to the political symbolism of the A-bomb that Fetter-Vorm highlights, especially when depicting the American concerns around the Second World War and the putative effect of the bomb, and the subsequent Japanese surrender, are significant geopolitical events that in","PeriodicalId":315328,"journal":{"name":"Rhizomes: Cultural Studies in Emerging Knowledge","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116903113","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}
{"title":"Robert Musil, Postmodernism, and the Problem of Subjectification","authors":"B. M. Blair","doi":"10.20415/rhiz/034.e01","DOIUrl":"https://doi.org/10.20415/rhiz/034.e01","url":null,"abstract":"","PeriodicalId":315328,"journal":{"name":"Rhizomes: Cultural Studies in Emerging Knowledge","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131831332","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}
{"title":"Matthew Wilson, New Lines","authors":"Dillon Mahmoudi","doi":"10.20415/rhiz/034.r02","DOIUrl":"https://doi.org/10.20415/rhiz/034.r02","url":null,"abstract":"","PeriodicalId":315328,"journal":{"name":"Rhizomes: Cultural Studies in Emerging Knowledge","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121950811","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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