Pub Date : 2020-04-02DOI: 10.1080/10436928.2020.1742956
Yvonne Liebermann, Birgit Neumann
Memory is typically understood as an essentially psychological process, tied to humans, their cognition, and their bodies. In a more metaphorical sense, memory is also conceived as a social and col...
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Pub Date : 2020-04-02DOI: 10.1080/10436928.2020.1742953
J. Wiens
the control of the archon, the official custodian of truth. It is archivization that interests
对执政官的控制，真理的官方守护者。感兴趣的是档案化
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Pub Date : 2020-04-02DOI: 10.1080/10436928.2020.1747176
Tom Chadwick
We first encounter Georges Danton – one of the three main characters in Hilary Mantel’s 1992 novel A Place of Greater Safety – as a young boy, shortly after he has been gored by a bull. On the one hand this can be read as a straightforward act of characterization: Danton’s injurious childhood becomes formative for his revolutionary future. Yet, the description of Danton’s childhood injury is also crucial in relating the fictional character in Mantel’s novel to the historical character upon which he is based, not least because the only extant portrait of Danton shows a man with a heavily scarred face (Charpentier). The rooting of a fictional narrative within historical detail is a central concern for Mantel. Her fifth novel, like many of her other works, is a historical novel, this one set during the French Revolution. It traces the lives of three revolutionary protagonists – Georges Danton, Camille Desmoulins, and Maximilien Robespierre – from childhood to the execution of Danton and Desmoulins in 1794. A Place of Greater Safety is written in explicit relation to archival traces. As Mantel herself explains in a short author’s note that precedes the text, much of her historical research found its way into the finished novel in its entirety: “Where I can,” she writes, “I have used [the characters’] real words – from recorded speeches or preserved writings – and woven them into my own dialogue” (xi). Yet archives do not simply figure in the novel as the source-material for Mantel’s fiction. Indeed, midway through the novel, while attending the salon of Madame Roland, the scar by which Danton was first introduced starts to speak to the host: “Yes, take a good look, his face said; you have never in your safe little life seen a man like me” (425). Here, Danton’s scar not only carries a record of the historical past, but actively structures Madame Roland’s experience of the present. It is the manner in which the archive not only records but actively produces history that I will explore in this essay.
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Pub Date : 2020-04-02DOI: 10.1080/10436928.2020.1747181
Bieke Willem
Above, the sky without limits, the constellated night of the tropics. And the stars were frightening! Jose Eustasio Rivera, La Voragine 345 In September 2018, the Museu Nacional in Rio de Janeiro, ...
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Pub Date : 2020-04-02DOI: 10.1080/10436928.2020.1747183
Tom Chadwick, Pieter Vermeulen
In a time of instant archiving and ongoing planetary collapse, literature’s engagement with the archive no longer automatically has the political purchase it had as late as the end of the twentieth...
在一个即时存档和全球崩溃的时代，文学与档案的接触不再像20世纪末那样自动获得政治购买。。。
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Pub Date : 2020-01-02DOI: 10.1080/10436928.2020.1712791
A. Kelly
In the afterword to the 1989 reissue of The Price of Salt, Patricia Highsmith writes of the overwhelmingly positive responses she had received from readers since the novel’s initial publication in ...
Patricia Highsmith在1989年重新发行的《盐的价格》的后记中写道，自小说于。。。
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Pub Date : 2020-01-02DOI: 10.1080/10436928.2020.1712795
Mahlu Mertens
With regard to art and the Anthropocene, literary critics have extensively discussed fiction, but theater, in its evanescence, offers a unique opportunity to think through the pressures and challenges of the Anthropocene as well. Very little attention has been paid to the strategies used within contemporary theater to tackle the challenges the Anthropocene poses to the human imagination, even though, or perhaps exactly because, theater seems to face an even bigger challenge than fiction. Unlike printed forms, performance is not only dependent on human language, but also on human bodies that act out, or at least convey, the story, and these performances are themselves fleeting and difficult – indeed, impossible – to preserve for posterity. The few articles that have been published on theater and the Anthropocene focus on climate change plays that have been staged (Johns-Putra), or they overlook the formal challenges inherent in depicting the Anthropocene on stage. In this essay, I use the term “Anthropocene” in the formal geological sense of the word as defined by the Working Group on the Anthropocene (n.p.). Their definition is based on the stratigraphic signals which indicate that the Anthropocene is, will be, and will have been a distinct stratigraphic unit whose distinctiveness derives precisely from its being anthropogenic in nature. The concept of the Anthropocene, literary scholar Jeremy Davies argues, “requires a certain indirectness [because] one must imaginatively transfer oneself to the far future” to see “how readily discernible [environmental change] will be millions of years from now” (66–67). World Without Us (2016), a Flemish theater play by Ontroerend Goed, tries to do just that: it imagines the long-lasting impact of the human presence on the planet. The play World Without Us is loosely based on Alan Weisman‘s speculative nonfiction work TheWorldWithout Us (2007), in which he describes what would happen to the natural and built environment if human life were to be wiped out. The play toured from 2016 to 2018 in Belgium, the Netherlands, Australia, the United Kingdom, and elsewhere. World Without Us explicitly takes the present, the here and now of the theater space where the actor and audience are gathered together, as a starting point for a proleptic remembering of the geological archive. It is a monologue for one actor, who functions as narrator, describing in a factual
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Pub Date : 2020-01-02DOI: 10.1080/10436928.2020.1712793
Tom Chadwick, Pieter Vermeulen
Archiving has become an increasingly ubiquitous part of everyday life. Every e-mail we receive is instantaneously stored in the cloud, and every Google search we begin is autocompleted by an algorithm that draws on the archive of our past searches, clicks, messages, and purchases. The archive, in other words, not only stores the present even as it unfolds, it also actively produces the present and the future. Such ambient archiving is a far cry from the image we typically associate with archives: that of a stuffy, poorly lit room where our access to written or printed documents is carefully managed and often policed. By becoming part of everyday life, the archive has extended beyond its traditional institutions and users. As much as the shift from analogue to digital modes of registration is crucial in determining the archive’s expansion into the wider culture, recent changes to the archive have not only been technological, but also semantic. In the last few decades of the twentieth century, critical theory unmoored the traditional archive from its precise location and set it adrift with metaphorical meanings, making it both a “physical” and an “imaginative” site, a “conceptual space whose boundaries are forever changing” (Voss and Werner 1). The two unavoidable names in this context remain those of Michel Foucault and Jacques Derrida – even if, as the contributions to these two issues make clear, many other scholars have approached the archive in innovative and imaginative ways. A major part of Foucault’s work was based on actual archival research, but he also theorized the archive as something much more encompassing: as the epistemic infrastructure that allows statements to appear as singular events within a wider system of reference. This metaphorical archive, for Foucault, determines the truth value and the import of the statements that it allows. Derrida, for his part, situated the production of the archive in the psychic life of power: torn between a destructive deathdrive and a conservational drive linked to the pleasure principle, our “archive fever” manically records the present to salvage it for an insistent future. As
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Pub Date : 2020-01-02DOI: 10.1080/10436928.2020.1712794
Mark Bresnan
How does the archive feel? In “The Library of Babel,” Jorge Luis Borges creates one of literature’s most famous archives, describing what seems at first to be an orderly storehouse of all the world’s knowledge: “Each wall of each hexagon is furnished with five bookshelves; each bookshelf holds thirty-two books identical in format; each line, approximately eighty black letters” (113). In the story’s opening paragraphs, the archive promises uniformity, rationality, and even physical comfort: shelves are built to the height of an average librarian, and each vestibule between the library’s hexagons features a sleeping compartment and a washroom (112). When a librarian deduces that the library is “total” – featuring all possible knowledge – Borges describes the initial response as “unbounded joy. All men felt themselves the possessors of an intact and secret treasure” (115). This sense of promise echoes one of the most compelling seductions of contemporary technoculture, which proposes to harness Moore’s Law, the cloud, and the wisdom of the commons in order to organize and catalog the world’s information into an orderly and comprehensive archive. In his 2010 book Cognitive Surplus, Clay Shirky highlights the creation of live-updating archives made possible by crowd-sourcing and digital technology. In his discussion of Ushahidi, a collective news platform used to track governmentsponsored violence and voter intimidation in developing countries, Shirky notes that “[a] handful of people, working with cheap tools and little time or money to spare, managed to carve out enough collective goodwill from the community to create a resource that no one could have even imagined even five years ago” (17). He argues that such efforts have enormous potential for the collection and organization of knowledge, noting that if the global population dedicated just 1% of the time they spent watching television on collaborating and participating in such projects, they could produce the equivalent of “more than one hundred Wikipedias” each year (23). The extraordinary potential of this intersection between digital technology and the archivization of knowledge led hundreds of Wikipedia editors to gather in Alexandria, Egypt in the summer of 2008. Popular historian James Gleick
档案馆感觉如何?在《巴别塔图书馆》(The Library of Babel)中，豪尔赫·路易斯·博尔赫斯(Jorge Luis Borges)创造了文学史上最著名的档案馆之一，他描述了一个乍看之下似乎是世界上所有知识的有序仓库:“每个六边形的每面墙都配有五个书架;每个书架上有32本格式相同的书;每一行大约有80个黑字”(113页)。在故事的开头段落中，档案馆承诺统一、合理，甚至身体舒适:书架的高度与普通图书管理员一样高，图书馆六边形之间的每个前厅都有一个睡眠隔间和一个洗手间(112)。当一个图书管理员推断出图书馆是“全部”——包含了所有可能的知识——博尔赫斯将最初的反应描述为“无限的快乐”。所有人都觉得自己拥有一个完整的秘密宝藏”(115)。这种承诺感呼应了当代技术文化中最引人注目的诱惑之一，它建议利用摩尔定律、云计算和公共智慧，将世界上的信息组织和编目成一个有序而全面的档案。克莱•舍基(Clay Shirky)在2010年出版的《认知盈余》(Cognitive Surplus)一书中强调，通过众包和数字技术，实时更新档案的创造成为可能。在讨论Ushahidi时，Shirky指出:“少数人使用廉价的工具，几乎没有时间和金钱，设法从社区中获得足够的集体善意，创造出一个五年前甚至没有人想象得到的资源。”(17)。Ushahidi是一个集体新闻平台，用于追踪发展中国家政府资助的暴力和选民恐吓。他认为，这种努力在收集和组织知识方面具有巨大的潜力，他指出，如果全球人口将他们看电视的时间的1%用于合作和参与这些项目，他们每年就可以产生相当于“100多个维基百科”的内容(23)。2008年夏天，数字技术与知识存档之间的这种交叉有着非凡的潜力，这促使数百名维基百科编辑聚集在埃及的亚历山大。流行历史学家詹姆斯·格莱克说
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Pub Date : 2020-01-02DOI: 10.1080/10436928.2020.1709713
M. Eve
Despite a strong pedigree of textual scholarship in literary studies, the study of contemporary literature often eschews such methods on the grounds that there is an insufficient archive to fully comprehend the production of just-published work. In this article I argue for a turn to textual scholarship in the field of contemporary literary studies through the comparison of geographically diverse publications of texts serving as documentary co-archives of emergence. To make this case I document the two very different versions of Jennifer Egan’s first-published collection of fiction, Emerald City (1993 and 1996), charting the interpretational consequences of her editorial processes within that early work. Until the embargo expires, a version is available on the author's personal website at https://eve.gd/2019/07/06/textual-scholarship-and-contemporary-literary-studies-jennifer-egans-editorial-processes-and-the-archival-edition-of-emerald-city/
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