Patrick ffrench and Timothy Mathews discuss the affective dimensions of the practice and art of translation, and of translating Barthes in particular, in the light of the latter’s translations from Fragments d’un discours amoureux, included in this issue. The problems posed by ‘Agony’, one of Barthes’ ‘fragments’ indebted to Donald Winnicott’s notion of the fear of a disaster that has already happened, is a salient preoccupation. This is the starting point for exchanges around the dynamics of translation, as a process in which love, loss, fascination, melancholy and rage flow in and out of the transitional space between the ‘original’ and its ‘version’.
Patrick ffrench和Timothy Mathews讨论了翻译实践和艺术的情感层面，特别是翻译Barthes的情感层面。Barthes翻译自本期《爱的碎片》。《痛苦》（Agony）是巴特的“片段”之一，它归功于唐纳德·温尼科特对已经发生的灾难的恐惧，它带来的问题是一个突出的关注点。这是围绕翻译动态进行交流的起点，在这个过程中，爱、失落、迷恋、忧郁和愤怒在“原作”和“译本”之间的过渡空间中进进出出。
{"title":"The CounterText Conversation Notes on ‘Agony’: A Dialogue","authors":"P. ffrench, T. Mathews","doi":"10.3366/count.2023.0300","DOIUrl":"https://doi.org/10.3366/count.2023.0300","url":null,"abstract":"Patrick ffrench and Timothy Mathews discuss the affective dimensions of the practice and art of translation, and of translating Barthes in particular, in the light of the latter’s translations from Fragments d’un discours amoureux, included in this issue. The problems posed by ‘Agony’, one of Barthes’ ‘fragments’ indebted to Donald Winnicott’s notion of the fear of a disaster that has already happened, is a salient preoccupation. This is the starting point for exchanges around the dynamics of translation, as a process in which love, loss, fascination, melancholy and rage flow in and out of the transitional space between the ‘original’ and its ‘version’.","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43985000","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":"Editorial","authors":"Ivan Callus, James Corby","doi":"10.3366/count.2023.0289","DOIUrl":"https://doi.org/10.3366/count.2023.0289","url":null,"abstract":"","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49391738","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":"Front matter","authors":"","doi":"10.3366/count.2023.0287","DOIUrl":"https://doi.org/10.3366/count.2023.0287","url":null,"abstract":"","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135722788","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 creative piece presents AI-generated images that take tragedy as their theme. The argument is made that this constitutes a posthuman reimagining of the tragic, and raises questions about the relationship between art, technology, and the human. With reference to Walter Benjamin, the question is asked whether there might be something like an ‘aura’ of the posthuman work of art?
{"title":"/imagine: Posthuman Tragedy and the Aura of AI-Produced Art","authors":"Ai, James Corby","doi":"10.3366/count.2022.0283","DOIUrl":"https://doi.org/10.3366/count.2022.0283","url":null,"abstract":"This creative piece presents AI-generated images that take tragedy as their theme. The argument is made that this constitutes a posthuman reimagining of the tragic, and raises questions about the relationship between art, technology, and the human. With reference to Walter Benjamin, the question is asked whether there might be something like an ‘aura’ of the posthuman work of art?","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46026068","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":"Guest Editor’s Introduction: Posthumanism and the Tragic","authors":"Stefan Herbrechter","doi":"10.3366/count.2022.0278","DOIUrl":"https://doi.org/10.3366/count.2022.0278","url":null,"abstract":"","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46071642","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}
Departing from the (post-)Anthropocenic crisis state of today’s world, fuelled by the ongoing COVID-19 pandemic, various post-truth populist follies, and an apocalyptic WW3-scenario that has been hanging in the air since the 2022 invasion of Ukraine, this article argues for the possibility – and necessity – of an affirmative posthumanist-materialist mapping of hope. Embedded in the Deleuzoguattarian-Braidottian (see Deleuze and Guattari 2005 [1980]; Braidotti 2011 [1994]) methodology of critical cartography, and infused with critical posthumanist, new materialist, and queer theoretical perspectives, this cartography of hope is sketched out against two permacrisis-infused positionalities: nostalgic humanism and tragic (post-)humanism. Forced to navigate between these two extremes, the critical cartography of hope presented here explores hope in numerous historico-philosophical (re-)configurations: from the premodern ‘hope-as-all-too-human’, to a more politicised early modern ‘hope-as-(politically-)human’ – representing hope’s first paradigm shift (politicisation), and from a four decades-long neoliberal redrawing of hope as ‘no-more-hope’ – hope’s second shift (depoliticisation) – to a critical (new) materialist plea to de-anthropocentrise and re-politicise hope – hope’s third and final post-Anthropocenic shift (re-politicisation). By mapping these (re-)configurations of hope, a philosophical plea is made for hope as a material(ist) praxis that can help us better understand – and counter – these extractive late capitalist, neoliberal more-than-human crisis times.
{"title":"Navigating (Post-)Anthropocenic Times of Crisis: A Critical Cartography of Hope","authors":"E. Geerts","doi":"10.3366/count.2022.0281","DOIUrl":"https://doi.org/10.3366/count.2022.0281","url":null,"abstract":"Departing from the (post-)Anthropocenic crisis state of today’s world, fuelled by the ongoing COVID-19 pandemic, various post-truth populist follies, and an apocalyptic WW3-scenario that has been hanging in the air since the 2022 invasion of Ukraine, this article argues for the possibility – and necessity – of an affirmative posthumanist-materialist mapping of hope. Embedded in the Deleuzoguattarian-Braidottian (see Deleuze and Guattari 2005 [1980]; Braidotti 2011 [1994]) methodology of critical cartography, and infused with critical posthumanist, new materialist, and queer theoretical perspectives, this cartography of hope is sketched out against two permacrisis-infused positionalities: nostalgic humanism and tragic (post-)humanism. Forced to navigate between these two extremes, the critical cartography of hope presented here explores hope in numerous historico-philosophical (re-)configurations: from the premodern ‘hope-as-all-too-human’, to a more politicised early modern ‘hope-as-(politically-)human’ – representing hope’s first paradigm shift (politicisation), and from a four decades-long neoliberal redrawing of hope as ‘no-more-hope’ – hope’s second shift (depoliticisation) – to a critical (new) materialist plea to de-anthropocentrise and re-politicise hope – hope’s third and final post-Anthropocenic shift (re-politicisation). By mapping these (re-)configurations of hope, a philosophical plea is made for hope as a material(ist) praxis that can help us better understand – and counter – these extractive late capitalist, neoliberal more-than-human crisis times.","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48591796","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 CounterText Review: Self-Mourning, Modernism and the Tragic","authors":"Marilyn Theuma","doi":"10.3366/count.2022.0284","DOIUrl":"https://doi.org/10.3366/count.2022.0284","url":null,"abstract":"","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43421589","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}
Tragedy is defined by Aristotle as a self-fulfilling prophecy, inciting fear and pity in an audience through a hero’s error of judgement, or hamartia. Anthropocentric climate change may likewise be viewed in similar terms, born out of the limitations of the humanist paradigm. Yet in an age of climate catastrophe, how might theatre represent this reality without reinforcing the same humanist logic of privileging human suffering? As a playwright, I have long grappled with how best to dramatise climate change: a phenomenon that seems beyond the scope of human-centred drama. At the same time, the Anthropocene is by definition a human-created problem, and the emotional impact of our doom-laden future bears a tangible human effect. When choosing a form, then, for my own new play about this topic, something of a balance seemed important to me: a human-centred approach that might nonetheless recontextualise human suffering within a more earthly timescale. My resulting new play, The Tiniest Thing, is a middle-class Australian family drama that is rudely interrupted by the natural world. As a forest emerges from a pantry, long grass appears beneath the living room carpet, and dead birds begin to fall from the ceiling, the human characters refuse to see what is right in front of their eyes – until one character, Susan, begins to let the outside world in. Ultimately concerned with the politics of perception, The Tiniest Thing asks: is it possible for humans to perceive an objective reality, or do we always choose what we want to believe? And how might rigid ideologies become our own hamartia in the face of climate catastrophe? I view these questions within the context of bringing an eco-critical dramaturgy to my playwriting, primarily through my use of structure, contrasting deep ‘planetary’ time with the ‘human’ time of the unfolding plot, inspired by the Arctic Cycle plays of Chantal Bilodeau. By seeking to show two different realities at once, I hope to evoke a world on stage in which the same phenomena are perceived by the human characters in vastly different ways, reframing their suffering within a wider ecological context.
{"title":"Reframing Humanist Tragedy in The Tiniest Thing","authors":"R. Jordan","doi":"10.3366/count.2022.0282","DOIUrl":"https://doi.org/10.3366/count.2022.0282","url":null,"abstract":"Tragedy is defined by Aristotle as a self-fulfilling prophecy, inciting fear and pity in an audience through a hero’s error of judgement, or hamartia. Anthropocentric climate change may likewise be viewed in similar terms, born out of the limitations of the humanist paradigm. Yet in an age of climate catastrophe, how might theatre represent this reality without reinforcing the same humanist logic of privileging human suffering? As a playwright, I have long grappled with how best to dramatise climate change: a phenomenon that seems beyond the scope of human-centred drama. At the same time, the Anthropocene is by definition a human-created problem, and the emotional impact of our doom-laden future bears a tangible human effect. When choosing a form, then, for my own new play about this topic, something of a balance seemed important to me: a human-centred approach that might nonetheless recontextualise human suffering within a more earthly timescale. My resulting new play, The Tiniest Thing, is a middle-class Australian family drama that is rudely interrupted by the natural world. As a forest emerges from a pantry, long grass appears beneath the living room carpet, and dead birds begin to fall from the ceiling, the human characters refuse to see what is right in front of their eyes – until one character, Susan, begins to let the outside world in. Ultimately concerned with the politics of perception, The Tiniest Thing asks: is it possible for humans to perceive an objective reality, or do we always choose what we want to believe? And how might rigid ideologies become our own hamartia in the face of climate catastrophe? I view these questions within the context of bringing an eco-critical dramaturgy to my playwriting, primarily through my use of structure, contrasting deep ‘planetary’ time with the ‘human’ time of the unfolding plot, inspired by the Arctic Cycle plays of Chantal Bilodeau. By seeking to show two different realities at once, I hope to evoke a world on stage in which the same phenomena are perceived by the human characters in vastly different ways, reframing their suffering within a wider ecological context.","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42656768","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":"Editorial","authors":"Ivan Callus, James Corby","doi":"10.3366/count.2022.0277","DOIUrl":"https://doi.org/10.3366/count.2022.0277","url":null,"abstract":"","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45158345","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 CounterText Interview: Mark McGurl","authors":"M. Mcgurl, Stefan Herbrechter","doi":"10.3366/count.2022.0279","DOIUrl":"https://doi.org/10.3366/count.2022.0279","url":null,"abstract":"","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42101217","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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