Pub Date : 2024-02-29DOI: 10.19116/theory.2024.29.1.293
Hyeryung Hwang
In Utopian Generations: The Political Horizon of Twentieth-Century Literature (2005), Nicholas Brown remarks on the difference between realism and modernism as one that expresses a conflict between “a responsibility to historical truth” and “a fidelity to the formal energies released by the emergence of a form of subjectivity liberated (or alienated) from historical consciousness” (182). This raises several issues that might be useful for us to develop since, despite the emergence of diverse critical lines of thought since the development of postwar critical theory, realism and modernism have continued to affect the intricately interconnected modes of philosophical and political attitudes towards the relation between aesthetics and politics. Marxist thinkers, Georg Lukács, Theodor Adorno, and Fredric Jameson, among others, explored the dichotomy of realism and modernism in terms of the dialectic of form and content. While they shared that there is an essentially inextricable relationship between literature and the underlying contradictions of our society, how they described the aesthetic expression of social contradictions was distinct, leaving the important question unanswered: “what does it mean to be ‘real’?” In this paper, I revisit the realism-modernism debate to explore this fundamental antagonism to see how these thinkers help clarify the following issues: what is realist form, and what are its features? How does realism negotiate the history of aesthetic forms? Are “formal energies,” as Brown puts it, by themselves an attempt to be free of “historical consciousness” or ones that, as form, highlight historical consciousness? And finally, how does realist form make political action possible? These questions also help us see what it means that the aesthetic choices of an older realism have been persistently replicated after modernism in the global periphery.
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Pub Date : 2024-02-29DOI: 10.19116/theory.2024.29.1.261
Jae-seong Lee
The film Everything, Everywhere, All at Once, which received tremendous praise and won seven Oscars at the 95th Academy Awards, offers an expansive exploration of science fiction, comedy, and a profound investigation into love. This movie goes beyond the typical SF and family drama genres, providing audiences with a reflective experience that encourages a deeper exploration of life’s facets. Centering on family ego conflicts and set against a multiverse backdrop, it challenges the binary concepts of morality. This paper endeavors to understand true love and identity through “ethical deconstruction” and “postmodern ethics,” particularly employing Gilles Deleuze and Félix Guattari’s concepts of “becoming” and “virtuality,” along with thought from Emmanuel Levinas and the issue of the sublime. The story begins with the dissatisfaction of the Wang family and follows their journey across multiple universes, unveiling the complexities of identity and choice. The work is explained through Deleuze and Guattari’s concept of “becoming,” symbolized by a circular motif representing an endless dynamic process. The narrative emphasizes Evelyn’s transformative journey, challenging the fixed notions of good and evil, and aligns with Deleuze’s transcendental empiricism. Her experiences across universes represent not just shifts in identity but the embodiment of Haecceity, the unique essence of each moment. The film’s narrative is interpreted to showcase the concept of “pure becoming,” emphasizing the transformative role of emotions and experiences beyond moral binaries, inviting viewers to participate in a journey of becoming that leads to empathy and understanding. Exploring Everything, Everywhere, All at Once through Deleuze and Guattari’s philosophies in this way highlights the film’s distinctiveness in exploring identity, love, and existence, allowing viewers to deeply understand and feel moved on an emotional and spiritual level.
在第 95 届奥斯卡金像奖上获得七项奥斯卡奖的电影《万物生长》（Everything, Everywhere, All at Once），以科幻、喜剧和对爱的深刻探索为题材，获得了巨大的赞誉。这部电影超越了典型的科幻片和家庭剧的类型，为观众提供了一种反思的体验，鼓励人们对生活的方方面面进行更深入的探索。影片以家庭自我冲突为中心，以多元宇宙为背景，挑战了二元对立的道德观念。本文试图通过 "伦理解构 "和 "后现代伦理"，特别是吉尔-德勒兹和费利克斯-瓜塔里的 "成为 "和 "虚拟性 "概念，以及伊曼纽尔-列维纳斯的思想和崇高问题，来理解真爱和身份认同。故事从王家人的不满开始，讲述了他们穿越多个宇宙的旅程，揭示了身份和选择的复杂性。作品通过德勒兹和瓜塔里的 "成为 "概念进行阐释，圆形图案象征着一个无尽的动态过程。作品的叙事强调了伊芙琳的转变之旅，挑战了固定的善恶观念，与德勒兹的超越经验主义不谋而合。她跨越宇宙的经历代表的不仅是身份的转变，而且是 Haecceity 的体现，即每一时刻的独特本质。影片的叙事方式诠释了 "纯粹成为 "的概念，强调了情感和超越道德二元对立的体验所起的转化作用，邀请观众参与成为的旅程，从而产生共鸣和理解。以这种方式通过德勒兹和瓜塔里的哲学思想来探索《万物，无处不在，同时进行》，凸显了影片在探索身份、爱和存在方面的独特性，让观众在情感和精神层面上深刻理解并感受到感动。
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Pub Date : 2024-02-29DOI: 10.19116/theory.2024.29.1.205
Hyun June Cho
This article examines the vision of gender utopia presented in Aldous Huxley’s Brave New World and explores its utopian possibilities in Mustapha’s World State, which is compared to the philosopher-ruled state in Plato’s Republic. The theme of utopia has been approached differently in liberalism and socialism: liberal utopia prioritizes individual freedom, while socialist utopia emphasizes egalitarian community. The World State in The Brave New World abolishes patriarchy with advanced scientific and technological civilization and depicts a gender utopia without female reproductive labor, emotional labor, and care labor, while the actual main woman characters such as Lenina and Linda suffer pain and death. Therefore, Huxley’s World State represents an ideal gender utopia, while the female characters are evaluated based on their appearance and live tragic lives due to excessive national norms enforcing order. On the other hand, Mustapha’s World State embodies some of the ideal state described in Plato’s Republic, and the two polities are similar in that they are class societies based on stability ruled by philosophers. However, the World State places too much emphasis on community stability, suppressing individual freedom, emphasizing sensual pleasure rather than spiritual happiness, Eudaimonia of Plato’s polity. Eventually, Huxley’s utopia has an ideal structure of gender equality, but the women living there are not so happy. Although it is excellent in terms of stability and efficiency as an ideal politeia ruled by a philosopher, it has limitations that its educational method is rather oppressive, only indulges in pleasure, then represents a failed gender utopia in the end.
本文研究了奥尔德斯-赫胥黎（Aldous Huxley）的《美丽新世界》（Brave New World）中提出的性别乌托邦愿景，并探讨了穆斯塔法（Mustapha）的《世界国家》（World State）中的乌托邦可能性，并将其与柏拉图（Plato）的《共和国》（Republic）中的哲学家统治的国家进行了比较。自由主义和社会主义对乌托邦主题的处理方式不同：自由主义的乌托邦以个人自由为先，而社会主义的乌托邦则强调平等主义的共同体。勇敢新世界》中的世界国家以先进的科技文明废除了父权制，描绘了一个没有女性生殖劳动、情感劳动和护理劳动的性别乌托邦，而现实中的女性主角列宁娜、琳达等却遭受着痛苦和死亡。因此，赫胥黎的《世界国家》表现的是一个理想的性别乌托邦，而女性角色则是以貌取人，由于过多的国家规范强制推行秩序而生活悲惨。另一方面，穆斯塔法的 "世界国家 "体现了柏拉图《共和国》中描述的理想国的某些特征，两者的政体相似，都是由哲学家统治的以稳定为基础的阶级社会。然而，世界国家过于强调社会稳定，压制个人自由，强调感官享乐而非精神幸福，即柏拉图政体中的Eudaimonia。最终，赫胥黎的乌托邦拥有理想的性别平等结构，但生活在其中的女性却并不那么幸福。虽然作为一个由哲学家统治的理想政体，它在稳定性和效率方面都很出色，但它也有局限性，那就是它的教育方法相当压抑，只沉溺于享乐，最终代表了一个失败的性别乌托邦。
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Pub Date : 2024-02-29DOI: 10.19116/theory.2024.29.1.51
Hyoung Cheol Shin
In this article, the term “disaster literature” is narrowly defined: works submitted in response to actual historical disasters. Disaster literature will reflect the factual aspects of real disasters, and of particular importance will be the patterns of human behavior in times of disaster, rather than the disaster itself. This can be divided into social solidarity and social conflict. Disaster literature is a dual response to this. It joins or creates social solidarity and intervenes in social conflict to dismantle its basis. The first type can be called ‘healing narratives’. It verbalizes the suffering of the victims, gives it a figure and allows it to exist in the public sphere. The role of the healing narrative is to mediate social solidarity. The second type of narrative can be called ‘counter-narrative’. When a particular perception/narrative of disaster takes the place of the dominant narrative and triggers social conflict, disaster literature as a counter-narrative participates in the social narrative struggle by offering a different way of thinking about disaster (alternative disaster perception). This paper examines works that fulfil their roles as healing narratives and counter-narratives by taking the September 11 attacks and the Tōhoku earthquake and tsunami as symbolic cases of social and natural disasters in the 21st century. In doing so, we will test the effectiveness of the concepts presented in this paper and lay the groundwork for the development of a theory of disaster literature.
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Pub Date : 2024-02-29DOI: 10.19116/theory.2024.29.1.5
Dae-Joong Kim
This study aims to apply neuroscience research on memory to analyze E.L. Doctorow’s contemporary novel, Andrew’s Brain. Drawing upon insights from neuroscience, particularly Veronica O’Keane’s “The Rag and Bone Shop: How We Make Memories And Memories Make Us,” the essay delves into the central motif of memory in literature, such as Marcel’s poignant recollection of his grandmother triggered by a madeleine cake. Veronica O’Keane’s exploration of memory function through neuroscience elucidates how sensory stimuli activate memory in the brain, with numerous literary references providing context. In Andrew’s Brain, the protagonist Andrew, a cognitive scientist, undergoes a confession to Doc, a psychiatrist, revealing his struggles with memory and consciousness. However, as an unreliable narrator, Andrew’s confession is deceptive. This essay seeks to dissect Andrew’s confession, examining his confused memory and psychiatric issues through the lens of brain science. Additionally, it delves into the concept of collective memory and its political implications, particularly focusing on the novel’s satire. Through this interdisciplinary approach, the study aims to shed light on the intricate interplay between neuroscience, literature, and societal commentary found within Andrew’s Brain.
本研究旨在运用神经科学对记忆的研究来分析 E.L. Doctorow 的当代小说《安德鲁的大脑》。文章借鉴了神经科学的见解，尤其是维罗妮卡-奥基恩（Veronica O'Keane）的《布骨店》（The Rag and Bone Shop）：这篇文章深入探讨了文学作品中记忆的核心主题，例如马塞尔对其祖母的凄美回忆是由一个玛德琳蛋糕引发的。维罗妮卡-奥基恩（Veronica O'Keane）通过神经科学对记忆功能的探索，阐明了感官刺激如何激活大脑中的记忆，并引用大量文学作品提供背景。在《安德鲁的大脑》中，主人公安德鲁是一名认知科学家，他向精神病医生多克忏悔，揭示了自己在记忆和意识方面的挣扎。然而，作为一个不可靠的叙述者，安德鲁的忏悔具有欺骗性。本文试图剖析安德鲁的自白，从脑科学的角度审视他混乱的记忆和精神问题。此外，文章还深入探讨了集体记忆的概念及其政治含义，尤其关注小说的讽刺意味。通过这种跨学科的方法，本研究旨在揭示《安德鲁的大脑》中神经科学、文学和社会评论之间错综复杂的相互作用。
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Pub Date : 2024-02-29DOI: 10.19116/theory.2024.29.1.27
Ilsu Sohn
This paper analyzes how Somerset Maugham’s The Razor’s Edge (1944) represents the advent of finance capitalism during the interwar years. Specifically, this paper pays attention to a series of subjectivities featuring the social milieu based on finance capital set loose over the globe. Maugham has been criticized for focusing on the characters’ externals in a conventional fashion. As a result, he has been marginalized from the academic discourse on the early twentieth-century literature dominated by modernist studies. This paper will prove that Maugham’s attention to the externals is part of his literary design for effectively representing characters who embody the uncontrolled and perpetual proliferation of finance capital without an independent and reflective consciousness. In particular, Larry, the novel’s central character, becomes disillusioned with the declining Western civilization and then travels to foreign soils in search of the opportunity to be symbolically reborn. This paper will prove that the novel eventually debunks the fetishistic nature of this imperial search and unveils it as another cultural expression of supranational finance capitalism. Ultimately, this paper aims to contribute to the reevaluation of Maugham’s literary achievement by highlighting his pioneering representation of the post-modern world.
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Pub Date : 2024-02-29DOI: 10.19116/theory.2024.29.1.81
Hui-sok Yoo
This paper is an analytic exploration of W. G. Sebald’s only full-length novel, Austerlitz; a reading to faithfully follow the narrative aspect that goes against the grain of Holocaust testimonial literature. If Sebald has gone beyond testimony to the point of interrogating the Western colonial modernity, then the perusal of Austerlitz must be a great challenge. The narrative, centered around the first-person speaker believed to be Sebald with his attendant eponymous character, Austerlitz, relentlessly reinforces the awareness that the Holocaust is a phenomenon that originated from the Western spirit rooted in the Descartean rationalism. Thus Austerlitz can be re-evaluated as a critique of the fundamental logic of Western modernity and also an attempt to heal its disastrous aftermath. In this vein, Austerlitz is remarkably suffused with architectural meditations; the highly concentrated thoughts on various monumental buildings in countries that once ruled as colonial empires, such as the Netherlands, the United Kingdom, and France, lead to criticism of the origin of Auschwitz. Hence the analysis is focused on the world-view of the Western colonial modernity that perpetrated ‘the Shoah’ in an unprecedented and unparalleled enormity. The upshot of this paper; the narrative of Austerlitz with his first-person narrator remains an outstanding example of the creative evolution in the field of modern literature today.
本文是对塞巴尔德（W. G. Sebald）唯一一部长篇小说《奥斯特利茨》（Austerlitz）的分析性探讨；是对违背大屠杀见证文学规律的叙事方面的忠实解读。如果说塞巴尔德已经超越了见证的范畴，达到了拷问西方殖民现代性的地步，那么阅读《奥斯特利茨》一定是一个巨大的挑战。小说以第一人称塞巴尔德及其同名人物奥斯特利茨为中心展开叙述，无情地强化了这样一种意识，即大屠杀是源于笛卡尔理性主义的西方精神的一种现象。因此，可以将《奥斯特利茨》重新评价为对西方现代性基本逻辑的批判，同时也是医治其灾难性后果的尝试。在这一思路下，《奥斯特利茨》明显充满了建筑冥想；对荷兰、英国和法国等曾经作为殖民帝国统治的国家的各种纪念性建筑的高度集中思考，引发了对奥斯威辛起源的批判。因此，本文分析的重点是西方殖民现代性的世界观，它以前所未有的巨大规模制造了 "浩劫"。本文的结论是：《奥斯特利茨》的叙事及其第一人称叙述者仍然是当今现代文学领域创造性演变的杰出典范。
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Pub Date : 2024-02-29DOI: 10.19116/theory.2024.29.1.169
Haeook Jeong
This study commences by engaging with Judith Butler's critical inquiry into the enduring significance of the body amidst the rapid advancements in fields like Neuralink and generative AI. Butler’s early works including Gender Trouble, Bodies that Matter, and Excitable Speech, extensively investigate the ‘resignification’ of oppressive norms and coercive interpellations, a focus that initially seemed to underplay the role of physical embodiment. Since Precarious Life(2004), however, Butler’s scholarship has notably shifted to more explicitly incorporate the bodily dimension. She extends her inquiry beyond the ‘re-signification’ in language and discourse to explore how the body itself can exert influence and drive transformative change in the world. This paper aims to explore contemporary reflections on the body's politics, especially in the context of global events like the pandemic. It examines Butler’s recent works, including What World Is This?, to understand how the body's openness, vulnerability, interdependence, entanglement, and porosity may catalyze transformative shifts towards a more livable world. The paper also examines the unequal distribution of precarity and potential solidarity forms among bodies as a form of resistance. To fulfill these aims, the paper first reviews Butler’s views on bodies during the pandemic, drawing on phenomenologists like Maurice Merleau-Ponty, with a special emphasis on corporal sensory perception, interdependency, and interconnectedness. It then introduces the concept of precarity to deepen the discussion on the body’s politics. Furthermore, it evaluates forms of solidarity, exemplified by movements like #BlackLivesMatter and #NiUnaMenos, to explore how Butler’s theory advocates for an open solidarity that moves beyond identity politics. The study concludes by assessing how Butler’s insights provide timely and profound contributions to the current era of crisis.
本研究从朱迪斯-巴特勒（Judith Butler）的批判性探索开始，探讨在神经链接和生成式人工智能等领域的快速发展中，身体的持久意义。巴特勒的早期作品包括《性别问题》（Gender Trouble）、《重要的身体》（Bodies that Matter）和《令人兴奋的言语》（Excitable Speech），广泛研究了压迫性规范和胁迫性干预的 "辞职 "问题，这一研究重点最初似乎低估了身体化身的作用。然而，自《岌岌可危的生命》（Precarious Life，2004 年）以来，巴特勒的学术研究明显转向更明确地纳入身体维度。她的探究超越了语言和话语中的 "再符号化"，进而探索身体本身如何施加影响并推动世界的变革。本文旨在探讨当代对身体政治的反思，尤其是在大流行病等全球事件的背景下。本文研究了巴特勒的近期作品，包括《这是个什么世界》（What World Is This?本文还探讨了不稳定性的不平等分配以及身体之间作为一种抵抗形式的潜在团结形式。为了实现这些目标，本文首先回顾了巴特勒在大流行病期间对身体的看法，借鉴了莫里斯-梅洛-庞蒂等现象学家的观点，特别强调了身体的感官知觉、相互依存性和相互关联性。然后，它引入了不稳定性的概念，以深化对身体政治的讨论。此外，研究还评估了团结的形式，例如 #BlackLivesMatter 和 #NiUnaMenos 运动，以探讨巴特勒的理论如何倡导超越身份政治的开放团结。研究最后评估了巴特勒的见解如何为当前的危机时代做出了及时而深刻的贡献。
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Pub Date : 2024-02-29DOI: 10.19116/theory.2024.29.1.229
Woosung Kang
The primary aim of this paper is to present the political implication of Deleuze’s idea of shame as the affect of resistance through masochistic withdrawal. Shame, for Deleuze, is clearly distinct from the feeling of guilt in that it does not concern with the pleasure of suffering and self-punishment caused by the breach of prohibition. Indeed, Deleuze makes lots of efforts to save the affect of shame from being co-opted by the psychoanalytic notion pairing off with the feeling of guilt and the pleasurable pain ensued from the Oedipal punishment. Deleuze’s separation of shame from guilt coincides with his lifelong struggle with the pleasure principle of psychoanalysis and its constant Oedipalization. Another crucial dimension of Deleuze’s deterritorialization of psychoanalysis in terms of shame is the break-up of the pathological bind between sadism and masochism. Especially, Deleuze unties the ontological affect of masochism and the literality of pain from sadistic, reactive, and sexualized aggressivity which is primarily dependent on the guilt and the pleasure of punishment. Masochistic shame is newly valorized by Deleuze as the powerful resistant weapon of the minorities whose act of withdrawal from the demand of capitalist discourse constitutes the very basis of political resistance. The political implication of Deleuze’s notion of masochistic shame becomes doubly significant when it is connected to the rhythm of pain in passive synthesis; masochist contraction, like Bartleby’s inaction, against ego, pleasure, and globalization helps us to secure and re-establish free, little, local differences in the overall micropolitical resistance to the global law of injunction to enjoyment.
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Pub Date : 2024-02-29DOI: 10.19116/theory.2024.29.1.149
Taek-Gwang Lee
This paper aims to identify the relationship between cybernetics and the post-war French philosophies or theories known and embraced as structuralism, poststructuralism, and postmodernism. Recent research has shown that cybernetics was closely associated with Lévi-Strauss’s structuralism, which was the cool of the new French theory, and that poststructuralism or postmodernism was a response to the technologies of control represented by cybernetics. From this perspective, the misconceptions and prejudices surrounding French theory must be confronted with an understanding of the historical context that gave rise to the phenomenon of postmodernism. This paper looks at French theory as an intellectual movement that emerged out of the reflection on cybernetic technologies in the post-war period centred on the Maginot Line and revisits its theoretical context through the keyword cybernetics. This new examination will allow us to rewrite the genealogy of French theories that emerged after 1950 as a response to cybernetics, whether postmodernism is interpreted as a cultural logic of late capitalism, as an extension of modernism, or as a new epistemology inevitably resulting from the decline of modernity. From this perspective, this paper argues that French theory and its effect, postmodernism, should not be buried in the annals of history as relics of a bygone era but should be recognized as a historical legacy shaping our present reality and should be re-examined.
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