Pub Date : 2020-01-02DOI: 10.1080/10436928.2020.1709715
D. O’Key
In recent years, critics and novelists alike have questioned literature’s potential to represent, register, and challenge environmental disaster. Perhaps the most-discussed interventions into this debate are Amitav Ghosh’s lectures on literature and climate change, published as The Great Derangement in 2016, in which Ghosh posits that contemporary novels are failing to come to terms with the “unthinkable” phenomena of climate change, the Anthropocene, and extinction. In this essay, I wish to deepen and complicate Ghosh’s arguments by turning to another Indian writer, Mahasweta Devi (1926– 2016), whose works not only represent the increasing anthropogenic extinctions of human and nonhuman life, but who in doing so calls into question the very archival drives of literature which Ghosh’s lectures implicitly privilege. In her short novel Pterodactyl, Puran Sahay, and Pirtha (1989; hereafter Pterodactyl), originally written in Bengali but translated into the Anglophone postcolonial canon via Gayatri Spivak’s 1995 publication of Imaginary Maps, Mahasweta narrates a story in which a dispassionate journalist, Puran Sahay, travels to a famine-stricken tribal village in central India. There, he encounters two kinds of vulnerability which confound his narrow idea of life: an impoverished adivasi (literally, original inhabitant) community who faces continual dispossession by national development projects, and a prehistoric pterodactyl, suffering from a broken wing. Pterodactyl stages Puran’s encounter with the incommensurable figure of the pterodactyl, an encounter which reveals how his humanitarianism is complicit with the slow anthropogenic violence of adivasi genocide and nonhuman ecocide. Pterodactyl thus opens out onto a plurality of human and nonhuman temporalities which trouble Puran’s narrow anthropocentrism. What often goes unexplored in the criticism on Pterodactyl is how its plot hinges on a creative engagement with extinction, what I will call here literary de-extinction. If de-extinction names a bio-technical regeneration of previously extinct species – think of charismatic megafauna such as woolly mammoths and thylacines, brought back from the dead via frozen DNA samples – then I introduce the term literary de-extinction in order to outline
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Pub Date : 2019-10-02DOI: 10.1080/10436928.2019.1672617
Carter F. Hanson
In his conclusion to Archaeologies of the Future (2005), Fredric Jameson observes that after fully-globalized capitalism and postmodernity ensued in the 1980s, the traditional literary utopia as a narrative form came to an abrupt end. Jameson argues that Marge Piercy’s Woman on the Edge of Time (1976) “marks a fundamental break” in the utopian genre, echoing Perry Anderson, who notes that Piercy’s novel was the last utopia of “wide resonance.” Both critics point out that after Piercy, traditional utopias offering blueprints for social change are no longer written because global capitalism’s apparent permanence makes the possibility of radical change seem almost inconceivable. The future feels determined. The so-called end of history declared by Francis Fukuyama in 1989, meaning no stage of social development exists beyond liberal-democratic capitalism, famously presaged the enduring socio-political stasis and suspension of utopian imagery diagnosed by numerous critics. Indeed, American sociologist Erik Olin Wright observes that talking of socialism as a systemic, utopian alternative to capitalism often lacks credibility. 2 Anderson explains utopianism’s devaluation in the UK as the result of “three decades of nearly unbroken political defeats for every force that once fought against the established order.” Thatcherism hadmeant that “it was no longer even necessary to proclaim that capitalism was superior to socialism ... it was the only conceivable social system” (71). Boaventura de Sousa Santos encapsulates both Wright and Anderson by maintaining that we inhabit a neo-liberal “conservative utopia” based on the criteria ofmarket efficiency and the total denial of possible alternatives to the present reality (10–11). And Jameson, of course, has frequently noted our inability to imagine any alternative to world capitalism, sometimes casting the problem in the register of history (or historicity) itself: “But I think it would be better to characterize all this [the end of the world] in terms of History, a History that we cannot imagine except as ending, and whose future seems to be nothing but a monotonous repetition of what is already here.” One could argue, then, that the particular twenty-first century relevance of Woman on the Edge of Time is its postulation that the future is not determined. To be sure, one principal way that Piercy’s novel, as a “critical utopia,” differs from and challenges the classical genre is in its conviction that historical time
弗雷德里克·詹姆森在《未来考古》（2005）的结论中指出，在20世纪80年代资本主义和后现代性全面全球化之后，作为叙事形式的传统文学乌托邦戛然而止。詹姆森认为，玛格·皮尔西的《时间边缘的女人》（1976）“标志着乌托邦类型的根本性突破”，这与佩里·安德森的观点相呼应，后者指出皮尔西的小说是“广泛共鸣”的最后一个乌托邦。两位评论家都指出，在皮尔西之后，为社会变革提供蓝图的传统乌托邦不再被书写，因为全球资本主义明显的持久性使得彻底变革的可能性几乎是不可想象的。未来是确定的。弗朗西斯·福山（Francis Fukuyama）在1989年宣布的所谓历史终结，意味着除了自由民主资本主义之外，不存在任何社会发展阶段，这一点著名地预示着社会政治的持久停滞和乌托邦形象的悬置，许多评论家认为这一点。事实上，美国社会学家Erik Olin Wright观察到，将社会主义视为资本主义的系统性乌托邦替代品往往缺乏可信度。2 Anderson解释说，乌托邦主义在英国的贬值是“每一支曾经与既定秩序作斗争的力量三十年来几乎从未间断的政治失败”的结果。撒切尔主义意味着“甚至没有必要宣称资本主义优于社会主义……这是唯一可以想象的社会制度”（71）。Boaventura de Sousa Santos概括了Wright和Anderson，坚持认为我们生活在一个基于市场效率标准的新自由主义“保守乌托邦”中，并完全否认当前现实的可能替代方案（10-11）。当然，詹姆逊经常指出，我们无法想象世界资本主义的任何替代方案，有时会把这个问题放在历史（或历史性）本身的寄存器中：“但我认为，最好用历史来描述这一切（世界末日），这是一部我们除了结束之外无法想象的历史，它的未来似乎只是对已经存在的东西的单调重复。”，《时间边缘的女人》在21世纪的特殊意义在于它假设未来尚未确定。可以肯定的是，作为一个“批判乌托邦”，皮尔西的小说与古典类型不同并挑战古典类型的一个主要方式是，它坚信历史时间
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Pub Date : 2019-10-02DOI: 10.1080/10436928.2019.1673022
Edith H. Krause
At the turn of the 20th century, Franz Kafka’s literary productions provide a keen illustration of unraveling times, lives, and identities in the face of a hostile world full of riddles, uncertaint...
在20世纪之交，弗朗茨·卡夫卡的文学作品提供了一个敏锐的插图，揭示了在一个充满谜题、不确定……
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Pub Date : 2019-10-02DOI: 10.1080/10436928.2019.1673610
C. Clements
In a 1937 letter to his friend Axel Kaun Samuel Beckett vents his frustration with language. He claims that “more and more language appears to me like a veil that must be torn apart in order to get at the things (or the Nothingness) behind it” (Beckett, “German Letter” 171). In this context, language is at best a disturbance, a barrier between the speaker and thing (or nothing). In this same letter, Beckett expresses his wish to “leave nothing undone [in language] thatmight contribute to its falling into disrepute. To bore one hole after another in it, until what lurks behind it – be it something or nothing, begins to seep through” (“German Letter” 172). He claims that there is, in fact, no “higher goal for a writer today” (“German Letter” 172). For Beckett, language not only fails to represent but functions to obscure the “something or nothing” of the world outside the speaking subject. The task of the writer is, then, not more accurate or encompassing mimesis through a new use of language, but the willed destruction of the very customs and habits of language that create an unclear relation between the world and mind. Though Beckett later disavowed this letter as a piece of juvenilia, or “German bilge” (“German Letter” 170), it provides a glimpse into how the young writer had already begun to grapple with the problem of language’s mediating role between the individual and the material world. Beckett claims that he wishes to use language against itself, in fact, to use language to create a “literature of the unword” through an “assault against words in the name of beauty” (Beckett, German Letter173). Here, Beckett puts a name to the activity that he would pursue until this death in 1989: “Wörtenstürmerei.”This word, translated occasionally as both “assault against words” and “word-storming,” is, according to Leland de la Durantaye, better translated as “logoclasm” (14). This logoclasm aims at the destruction of words as icons, stable stand-ins, or representatives of a supposedly “real.” The logoclastic impulse can be seen throughout Beckett’s work, though it appears most forcefully in 1949’s Three Dialogues. Nominally written with art critic George Duthuit 12 years after the “German Letter,” (Beckett, Three Dialogues 138) is an explicit statement, rare in his oeuvre, of the author’s own esthetic theory. In the Dialogues Beckett claims allegiance to a non-relational art, one not based on a gap between thought and reality, art and object, but on an intermingling of the two. Though Beckett uses them to
在1937年写给朋友阿克塞尔·考恩的一封信中，塞缪尔·贝克特表达了他对语言的不满。他声称“在我看来，越来越多的语言就像一层面纱，必须撕开它才能触及它背后的东西（或虚无）”（贝克特，《德语字母》171）。在这种情况下，语言充其量只是一种干扰，是说话人与事物之间的障碍（或者什么都没有）。在同一封信中，贝克特表达了他的愿望：“（在语言中）不要留下任何可能导致其名誉扫地的东西。在其中钻一个又一个洞，直到隐藏在背后的东西——无论是什么，都开始渗透进来”（《德语字母》172）。他声称，事实上，“今天的作家没有更高的目标”（《德语字母》172）。对贝克特来说，语言不仅不能代表，而且起到了模糊语言主体之外世界“有或无”的作用。因此，作者的任务不是通过新的语言使用来进行更准确或更全面的模仿，而是有意破坏语言的习俗和习惯，这些习俗和习惯在世界和心灵之间造成了不明确的关系。尽管贝克特后来否认这封信是一封幼稚的信，或“德语的废话”（“德语的信”170），但它让我们得以一窥这位年轻作家是如何开始努力解决语言在个人和物质世界之间的中介作用问题的。贝克特声称，他希望使用语言来对抗自己，事实上，通过“以美的名义攻击文字”，他希望用语言来创造一种“无用的文学”（Beckett，German Letter173）。在这里，贝克特为他在1989年去世前一直从事的活动取了一个名字：“Wörtenstürmerei”。根据Leland de la Durantaye的说法，这个词偶尔被翻译为“对文字的攻击”和“文字风暴”，更好地翻译为“语言冲突”（14）。这种语源冲突旨在摧毁作为图标、稳定的替身或所谓“真实”的代表的词语。这种语源冲击可以在贝克特的整个作品中看到，尽管它在1949年的《三次对话》中表现得最为强烈。在《德国信》（Beckett，Three Dialogues 138）出版12年后，艺术评论家乔治·杜图伊特（George Duthuit。在《对话》中，贝克特声称忠于一种非关系艺术，这种艺术不是基于思想与现实、艺术与对象之间的差距，而是基于两者的混合。尽管Beckett用它们
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Pub Date : 2019-10-02DOI: 10.1080/10436928.2019.1673608
Kelly A. Marsh
When Bridget Jones: Mad About the Boy (2013) appeared fourteen years after Helen Fielding’s second Bridget Jones novel, even Fielding’s most loyal readers likely had mixed feelings: excitement to recover a beloved character and her engaging comic voice tempered by trepidation that the recovery would be incomplete, that this third novel would not meet expectations created by Bridget Jones’s Diary (1996), as some already felt Bridget Jones: The Edge of Reason (1999) had not. When readers learned, many through advance press coverage, that the Bridget of this third novel is a widow and that her great love, Mark Darcy, is dead, trepidation perhaps threatened to overcome excitement: a novel about a devastated Bridget Jones was hard to imagine. However, readers’ fears that Bridgetmay have been rendered unrecognizable by what she has gone through are quickly dispelled: Fielding reassures her audience that we are encountering a familiar protagonist in a still familiar fictional world, and she does this especially through her deployment of what I call suspended seriality. A suspended sequel is a novel in a series that appears after considerable real time and story time have elapsed. Such a sequel depends on many of our expectations for seriality even as it disrupts others, especially regarding time. With seriality studies focusing strongly on nineteenth-century periodicals and also on comics, television, and digital narratives, the timing of installments – often very fast in contemporary works – is increasingly under consideration. This essay turns to the novel series to analyze the effects of extended timebetween installments on thehandling of narrative time. In the case of Fielding’s third Bridget Jones novel and others like it, the suspended sequel creates a focus on the present, rather than directing the reader’s attention toward the possibilities for a future resolution. This focus on the present also counters the orientation toward the past characteristic of the kind of trauma narrative Fielding’s readers may have expected, proving the suspended serial especially hospitable not to a narrative of trauma but to a narrative of recovery. That Bridget Jones: Mad About the Boy is a narrative of recovery is evident in manyways, including that readers are well into the novel before being able to piece together the story of the loss Bridget has suffered. Sometime after we lastmet her in The Edge of Reason, she and Mark were married and had a son and a daughter. Only months after the birth of their daughter, Mark was killed by an exploding landmine on amission to free twoBritish aidworkers being held hostage inDarfur.
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Pub Date : 2019-08-30DOI: 10.1097/CORR.0000000000000956
Chukwuweike U Gwam, Samuel Rosas, Ted Xiao, Artina Dawkins, Rashad J Sullivan, Cynthia L Emory
<p><strong>Background: </strong>Great efforts are currently being made toward improving gender and racial equity in orthopaedic surgery in the United States. Nonetheless, no research has reported on whether these efforts have increased representation of women and underrepresented minorities in leadership roles in orthopaedic surgery societies.</p><p><strong>Questions/purposes: </strong>Are women proportionally represented in the leadership of regional orthopaedic societies in the United States?</p><p><strong>Methods: </strong>The latest version of the American Association of Orthopaedic Surgeons census data was evaluated to determine the numbers (and percentages) of women and men practicing orthopaedic surgery in the United States. We also queried data for regional orthopaedic societies members who held a position of leadership (four societies; n = 53) between 2012 and 2017. Collected data included gender, years of experience, and practice setting. A chi-square analysis was conducted to compare the percentage of women in leadership with the percentage of women in practice in each of four geographic regions (Western Orthopaedic Association [WOA]; Southern Orthopaedic Association [SOA]; Eastern Orthopaedic Association [EOA]; Mid-America Orthopaedic Association [MAOA]) to see if the representation of women was proportional to that of men.</p><p><strong>Results: </strong>With the numbers available, there was no difference in the observed-to-expected proportions between men and women in leadership in any of the regional societies we studied For the eastern region, there were 6% (392 of 6514) versus 0% (0 of 12; p = 0.591) of practicing women orthopaedic surgeons versus women orthopaedic surgeons holding positions in EOA leadership. For the Western region, there were 5% (304 of 5744) versus 7% (1 of 14; p = 0.836) practicing women orthopaedic surgeons versus women orthopaedic surgeons holding positions in WOA leadership. For the Midwest United States region, there were 6% (443 of 6937) versus 0% (0 of 15; p = 0.509) of practicing women orthopaedic surgeons versus women orthopaedic surgeons holding positions in MAOA leadership. For the Southern United States region, there were 4% (443 of 9601) versus 0% (0 of 13; p = 0.662) of practicing women orthopaedic surgeons versus women orthopaedic surgeons holding positions in SOA leadership.</p><p><strong>Conclusions: </strong>We found that women were represented in leadership roles in the regional societies in the United States in proportion to their overall numbers. However, that overall number was small, and so the percentages of regional society leaders who were women were correspondingly small.</p><p><strong>Clinical relevance: </strong>The low number of women orthopaedic surgeons holding leadership positions in regional societies are most likely a function of the low overall number of women orthopaedic surgeons, but focused efforts to change the status quo may increase the diversity of leadership in these
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Pub Date : 2019-07-03DOI: 10.1080/10436928.2019.1631634
Hope Jennings
The eco-apocalyptic novel is arguably one of the most popular contemporary genres, evidenced by the quantity of literary publications preoccupied with climate change and the viability of species and planetary survival in the age of the Anthropocene (LeMenager 221–22). Literary critic James Berger observes that apocalypse primarily speaks to fears concerning human survival, typically represented by “biological-cultural forms” of human sterility directly linked to environmental collapse; in other words, the “end of [human] procreation” is equated with the end of the “natural” world (132–34). Ecoapocalyptic fictions thus often expose anthropocentric assumptions manifested by Anthropocene narratives that are invested in “perpetuating a human/nature binary” (DeLoughrey 353). Feminist new materialisms and queer ecologies generally resist the dominant Anthropocene narrative in its premise “that the era of nature is over,” or, that there has ever been “a coherent concept” of what is considered “natural” (Hannah 199). Rather, from a posthuman perspective, the concept of the Anthropocene should provoke an understanding that the “human” has in fact never been outside “nature” and that there is no origin point of return, where “nature” is pure or untouched by anthropogenic manipulations (199–200). In a broad summation of their corresponding arguments, feminist new materialists demand a radical shift in perspective that operates from the premise that humans are not separate from but entangled with multiple human and nonhuman “others,” which would in turn disrupt the centrality of humans within Anthropocene discourses (Barad 178–79, 396; Bennett 13, 107; Frost 3). Furthermore, many critics point out that the “anthropo” of the Anthropocene needs to be untangled from its presumption of a universalized
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Pub Date : 2019-07-03DOI: 10.1080/10436928.2019.1619129
Pamela Buck
According to postcolonial critics, Jane Austen’s 1814 novel Mansfield Park is an imperial text. In Culture and Imperialism; Edward Said contends that it is complicit with Britain’s colonial enterprise, and through its references to the slave trade in the West Indies and similar exploitation at home, it reflects what he calls a “domestic imperial culture” (93). While feminist scholars, such as Susan Fraiman and Ruth Perry, claim the novel condemns imperialism more than Said acknowledges, recent critics continue to read it in this fashion; for instance, Jon Mee claims that it embraces a nationalistic vision of England, while Saree Makdisi aligns it with Britain’s expanding imperial ventures abroad. However, the current critical conversation does not adequately address Austen’s allusions to China, a colonial context that is as important as the Caribbean trade for understanding the novel. British diplomacy and commerce with China in the early nineteenth century constituted an informal empire, yet one that allowed for and encouraged exchange (Chang 9). As Peter Kitson explains in Forging Romantic China, relations between the two countries were “governed by global flows of trade and existing networks of collaboration” (2). He contends that this interplay of trade and exchange necessarily complicates “any simple and straightforward binaries between colonial self and colonized others” (Kitson 16). China’s cultural prestige had long grounded a strong consumer demand for Asian products in the West, which in turn challenged Britain’s imperial views of the country and compelled it to recognize China’s economic and political strength (Kitson 17). As Britain constructed its national identity through its encounters with the East, it came to see itself as part of a larger global network (Kitson 2–3). Building on Kitson’s model, I argue that Austen employs the China trade to provide critical commentary on a British class system rooted in imperialism. In Mansfield Park, she presents a domestic story of trade and cultural exchange that serves as an allegory of Britain’s relations with the East. Adopted as a child into the household of her wealthy uncle, Sir Thomas Bertram, Fanny Price grows up an outsider amongst her upper-class relatives at their country estate of Mansfield Park. Austen satirizes the Bertrams’
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Pub Date : 2019-07-03DOI: 10.1080/10436928.2019.1631635
Wit Píetrzak
The prevalence of the pastoral tradition in modern Irish poetry may be among the most enduring influences of the Irish Revival. W. B. Yeats, a spectre of influence as polarizing as he is inescapable, continuously championed the peasant and peasant life over the budding early twentieth century Irish petit bourgeoisie, asserting in a valedictory poem “The Municipal Gallery Revisited” that “John Synge, I and Augusta Gregory, thought/All that we did, all that we said and sang/Must come from the contact with the soil” (Yeats 321). Although revisionist in their approach to peasant life and culture, Lady Gregory and particularly J. M. Synge set their plays in the rural areas rather than the city. For Synge, “the natural world serves [...] as a site for reflection, a site of longing, and, in the case of his characters, of displacement” so that “nature and landscape [...] come to be much more complex in their signification, elements of an Irish past that contain both ideals and their opposites” (Frawley 103). On a general note, in her analysis of the use of the pastoral mode in Irish literature, Oona Frawley claims:
现代爱尔兰诗歌中流行的田园传统可能是爱尔兰复兴最持久的影响之一。叶芝(w.b. Yeats)的影响力不可避免地两极化，他在20世纪初萌芽的爱尔兰小资产阶级中不断捍卫农民和农民生活，在一首告别诗《重新参观市政画廊》(the Municipal Gallery Revisited)中断言:“约翰·Synge、我和奥古斯塔·格里高利(Augusta Gregory)认为/我们所做的一切、所说的一切、所唱的一切/必须来自与土壤的接触”(叶芝321)。格雷戈里夫人，尤其是j·m·辛格，虽然他们对农民生活和文化的态度是修正主义的，但他们的戏剧背景是农村，而不是城市。对辛格来说，“自然界服务于……作为一个反思的场所，一个渴望的场所，对于他的人物来说，是一个位移的场所，”这样“自然和景观[…]在它们的意义上变得更加复杂，爱尔兰过去的元素既包含了理想，也包含了它们的对立面”(弗劳利103)。总的来说，在她对爱尔兰文学中田园模式的分析中，乌娜·弗劳利认为
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Pub Date : 2019-07-03DOI: 10.1080/10436928.2019.1631631
C. Haines
In 2009, Levi’s Jeans launched the “Go Forth” campaign, a series of commercials and print advertisements drawing on the poetry of Walt Whitman. As Wieden + Kennedy, the marketing firm that designed the campaign explains, “The campaign is inspired by the passion Walt Whitman felt for the potential of America and promise of the future. Films were created to demonstrate Levi’s awareness and relevance in the world through ‘America’ and ‘Pioneers! O Pioneers’ accompanied by readings of Whitman’s poems of the same name. Outdoor and printed material evoked the spirit of the new pioneer – today’s progressive – by featuring such optimistic statements as ‘Will work for better times,’ ‘All I need is all I got,’ and ‘Tough as your spirit’” (Campaign). Situated in the context of the 2008 financial crisis, these sentences suggest that Whitman performs a reparative function: Whitman rescues America’s faith in its own futurity; he salvages the conflation of the United States and futurity by revising Manifest Destiny as the “spirit of the new pioneer.” The campaign’s optimism consists in coding futurity in terms of American exceptionalism and capitalism. America’s potential entails putting people back to work (“Will work for better times”) and cultivating endurance for austerity measures (“All I need is all I got”). The commodity form becomes the vehicle for a renewal of America, so that the symbolic value of the Whitmanian future does not simply presuppose the material conditions of capitalism but also contributes to sustaining them. It is perhaps not surprising, then, that the campaign’s manifesto-like prose poem, printed on posters plastering the walls of the New York City Subway system, reads like a call to reinvest in neoliberalism: “I am the new American pioneer, looking forward, never back./No longer content to wait for better times ... /I will work for better times. ... All I need is all I got./Bruises heal. Stink is good. And apathy is death,/so I strike up for the new world!” (Campaign). It is tempting to read Wieden + Kennedy’s campaign as little more than the abduction of poetry for the service of capitalism. At the same time, however, the “Go Forth” campaign also calls attention to Whitman’s role
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