Pub Date : 2023-11-01DOI: 10.1515/arcadia-2023-2019
Jonas Rosenbrück
{"title":"Dennis Johannßen and Dominik Zechner, eds.: <i>Forces of Education: Walter Benjamin and the Politics of Pedagogy</i>. London: Bloomsbury Academic, 2023. 248 pp.","authors":"Jonas Rosenbrück","doi":"10.1515/arcadia-2023-2019","DOIUrl":"https://doi.org/10.1515/arcadia-2023-2019","url":null,"abstract":"","PeriodicalId":43010,"journal":{"name":"ARCADIA","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135565756","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-01DOI: 10.1515/arcadia-2023-2016
Serena Cianciotto
{"title":"Adrian Daub: <i>The Dynastic Imagination: Family and Modernity in Nineteenth-Century Germany</i>. London and Chicago, IL: The U of Chicago P, 2021. 253 pp.","authors":"Serena Cianciotto","doi":"10.1515/arcadia-2023-2016","DOIUrl":"https://doi.org/10.1515/arcadia-2023-2016","url":null,"abstract":"","PeriodicalId":43010,"journal":{"name":"ARCADIA","volume":"13 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135565761","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-01DOI: 10.1515/arcadia-2023-2013
Daniel R. Adler
Abstract Deleuze and Guattari’s concept of the body without organs (BwO) is one of their most abstruse, yet it remains integral to their larger project of experimentation. While the BwO has previously been described by contemporary posthuman theorists as a force of desire, in the context of the organ harvesting scheme in Kazuo Ishiguro’s novel Never Let Me Go , clones are raised until they are mature enough to donate their organs and eventually ‘complete’ as literal bodies without organs. However, while narrator Kathy H. exists as a BwO, she is also forced to integrate into systems such as the art exchanges which occur in the novel’s primary setting of Hailsham, and the broader neoliberal marketplace of organ donation for which she was engineered. The BwO can also be read as a metonymic strategy by which to understand Speculative Posthumanism and its ethical concerns regarding the problematics of cloning. Despite the novel’s bleak reality, Kathy H. becomes a model posthuman by recording her qualitative lived intensities autopoietically. In a world increasingly obsessed with technoscience and its quantitative outputs, using the concept of the BwO to reconsider what it means to be posthuman can help us rethink what and how we value.
德勒兹和瓜塔里的无器官身体(BwO)概念是他们最深奥的概念之一，但它仍然是他们更大的实验项目的组成部分。虽然BwO之前被当代后人类理论家描述为一种欲望的力量，但在石黑一雄的小说《别让我走》(Never Let Me Go)中器官摘取计划的背景下，克隆人被养大，直到他们足够成熟，可以捐献器官，最终“完整”地成为没有器官的身体。然而，当叙述者Kathy H.以BwO的身份存在时，她也被迫融入了一些系统，比如小说中主要背景黑尔舍姆的艺术交流，以及更广泛的新自由主义器官捐赠市场，而她正是为这个市场而设计的。BwO也可以被解读为一种转喻策略，通过它来理解投机后人类主义及其对克隆问题的伦理关注。尽管小说的现实是凄凉的，但凯西H.通过自我创生的方式记录了她定性的生活强度，成为了一个典型的后人类。在一个越来越痴迷于技术科学及其定量产出的世界里，利用BwO的概念重新思考什么是后人类，可以帮助我们重新思考我们重视什么以及如何重视。
{"title":"Reimagining the Body Without Organs Through Exchange Value in <i>Never Let Me Go</i>","authors":"Daniel R. Adler","doi":"10.1515/arcadia-2023-2013","DOIUrl":"https://doi.org/10.1515/arcadia-2023-2013","url":null,"abstract":"Abstract Deleuze and Guattari’s concept of the body without organs (BwO) is one of their most abstruse, yet it remains integral to their larger project of experimentation. While the BwO has previously been described by contemporary posthuman theorists as a force of desire, in the context of the organ harvesting scheme in Kazuo Ishiguro’s novel Never Let Me Go , clones are raised until they are mature enough to donate their organs and eventually ‘complete’ as literal bodies without organs. However, while narrator Kathy H. exists as a BwO, she is also forced to integrate into systems such as the art exchanges which occur in the novel’s primary setting of Hailsham, and the broader neoliberal marketplace of organ donation for which she was engineered. The BwO can also be read as a metonymic strategy by which to understand Speculative Posthumanism and its ethical concerns regarding the problematics of cloning. Despite the novel’s bleak reality, Kathy H. becomes a model posthuman by recording her qualitative lived intensities autopoietically. In a world increasingly obsessed with technoscience and its quantitative outputs, using the concept of the BwO to reconsider what it means to be posthuman can help us rethink what and how we value.","PeriodicalId":43010,"journal":{"name":"ARCADIA","volume":"15 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135565749","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1515/arcadia-2023-2001
Isabelle Bernard
Abstract This article analyzes the place of commitment and melancholy in the novel Écoutez nos défaites (Listen to our defeats) by French writer Laurent Gaudé (born in 1972). A dense, complex and multi-generic novel, it has a strong anchoring in contemporary historical events. Gaudé’s singular work, begun more than twenty years ago, scrutinizes the melancholy and lyricism which cross it in filigree, using universal literary heritage as its source – from Greek tragedy and the African tale, through immemorial myths and legends, to current world literature.
{"title":"Engagement et mélancolie dans Écoutez nos défaites de Laurent Gaudé","authors":"Isabelle Bernard","doi":"10.1515/arcadia-2023-2001","DOIUrl":"https://doi.org/10.1515/arcadia-2023-2001","url":null,"abstract":"Abstract This article analyzes the place of commitment and melancholy in the novel Écoutez nos défaites (Listen to our defeats) by French writer Laurent Gaudé (born in 1972). A dense, complex and multi-generic novel, it has a strong anchoring in contemporary historical events. Gaudé’s singular work, begun more than twenty years ago, scrutinizes the melancholy and lyricism which cross it in filigree, using universal literary heritage as its source – from Greek tragedy and the African tale, through immemorial myths and legends, to current world literature.","PeriodicalId":43010,"journal":{"name":"ARCADIA","volume":"17 1 1","pages":"107 - 125"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90146797","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1515/arcadia-2023-2010
Jana Vijayakumaran
Abstract In Robert Walser’s novel Jakob von Gunten (1909), a specific metanarrative revolves around the long-standing opposition between form and formlessness. This metanarrative redefines the ill-reputed non-form, establishing it as the core of aesthetic and linguistic productivity. At the same time, it provides insights into the literary precursors and theoretical contexts that reverberate throughout the novel. Literary resonances include Gottfried Keller’s canonical work Der grüne Heinrich, whose images of formlessness are adapted and transformed in Jakob von Gunten. On a theoretical level, it is a contemporary strand of Formal Aesthetics that elucidates the form-conceptual innovations in Jakob von Gunten. Reconstructing the references that structure the novel and its underlying poetology of form, this article reviews a literary manifestation of the theory of form that shapes the aesthetic discourse in the 1900 s.
{"title":"Colossal Scrawls and Divine Naughts: Images of Formlessness in Gottfried Keller’s Der grüne Heinrich and Robert Walser’s Jakob von Gunten","authors":"Jana Vijayakumaran","doi":"10.1515/arcadia-2023-2010","DOIUrl":"https://doi.org/10.1515/arcadia-2023-2010","url":null,"abstract":"Abstract In Robert Walser’s novel Jakob von Gunten (1909), a specific metanarrative revolves around the long-standing opposition between form and formlessness. This metanarrative redefines the ill-reputed non-form, establishing it as the core of aesthetic and linguistic productivity. At the same time, it provides insights into the literary precursors and theoretical contexts that reverberate throughout the novel. Literary resonances include Gottfried Keller’s canonical work Der grüne Heinrich, whose images of formlessness are adapted and transformed in Jakob von Gunten. On a theoretical level, it is a contemporary strand of Formal Aesthetics that elucidates the form-conceptual innovations in Jakob von Gunten. Reconstructing the references that structure the novel and its underlying poetology of form, this article reviews a literary manifestation of the theory of form that shapes the aesthetic discourse in the 1900 s.","PeriodicalId":43010,"journal":{"name":"ARCADIA","volume":"83 1","pages":"52 - 68"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86203147","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Even though literary works serve as excellent media for bearing witness to trauma, postcolonial and diasporic literary texts are often dismissed for their falsified accounts of traumatic life experiences. Recent studies on African American literature have stressed the need for a decolonized conceptualization of trauma that would not only disrupt the long-existing white Global Northern perspectives but also recognize feelings of empathy and solidarity among members of the community in these literary corpora. The present study adopts a hybrid analytical framework to examine the representations of trauma in the Nigerian American writer Chimamanda Ngozi Adichie’s Americanah (2013). Specifically, we draw upon Gérard Genette’s narrative levels, Ron Eyerman’s collective memory, and Jeffrey Charles Alexander’s collective identity to argue that the novel defies conventional forms of narrative by depicting postcolonial and diasporic identities as volatile and dynamic constructs. The findings indicate the multiple ways in which the story presents diasporic Africans – that is, the female protagonist Ifemelu and her male lover Obinze – as capable of overcoming the adverse effects of traumatic memories by chronicling an authentic record of their experiences. The study also reveals that the leading female character, like the novelist Adichie, creates an empowering platform for migrants of various ethnicities to speak up about their traumatic experiences, and thereby establish what is called ‘cross-cultural solidarity’ in reconstructing a new community.
{"title":"Decolonized Trauma: Narrative, Memory and Identity in Chimamanda Ngozi Adichie’s Americanah","authors":"Behzad Pourgharib, Moussa Pourya Asl, Somayeh Esmaili","doi":"10.1515/arcadia-2023-2005","DOIUrl":"https://doi.org/10.1515/arcadia-2023-2005","url":null,"abstract":"Abstract Even though literary works serve as excellent media for bearing witness to trauma, postcolonial and diasporic literary texts are often dismissed for their falsified accounts of traumatic life experiences. Recent studies on African American literature have stressed the need for a decolonized conceptualization of trauma that would not only disrupt the long-existing white Global Northern perspectives but also recognize feelings of empathy and solidarity among members of the community in these literary corpora. The present study adopts a hybrid analytical framework to examine the representations of trauma in the Nigerian American writer Chimamanda Ngozi Adichie’s Americanah (2013). Specifically, we draw upon Gérard Genette’s narrative levels, Ron Eyerman’s collective memory, and Jeffrey Charles Alexander’s collective identity to argue that the novel defies conventional forms of narrative by depicting postcolonial and diasporic identities as volatile and dynamic constructs. The findings indicate the multiple ways in which the story presents diasporic Africans – that is, the female protagonist Ifemelu and her male lover Obinze – as capable of overcoming the adverse effects of traumatic memories by chronicling an authentic record of their experiences. The study also reveals that the leading female character, like the novelist Adichie, creates an empowering platform for migrants of various ethnicities to speak up about their traumatic experiences, and thereby establish what is called ‘cross-cultural solidarity’ in reconstructing a new community.","PeriodicalId":43010,"journal":{"name":"ARCADIA","volume":"21 1","pages":"16 - 34"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81158233","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1515/arcadia-2023-2009
Seong Joo Lee
Abstract This essay attempts to examine the intertextuality of the fictional character Quasimodo in Thomas Mann’s Doktor Faustus. Thomas Mann readily professes his affection for his fictional character Adrian, and admits to the existence of a close yet secret connection between Adrian and Mann himself. It can be concluded that Thomas Mann identifies not only with Adrian but also with Quasimodo, who himself loves Esmeralda. But why does he identify thus? There is no simple answer to this question, and here lies the secret of Thomas Mann’s way of working. To explain this, the present essay takes a slight detour and traces his way of thinking and working. This is referred to in this essay as the ‘second concealment,’ which logically presupposes knowledge of the ‘first concealment.’ In the course of this detour, we gain some insight into why Thomas Mann appears in Doktor Faustus riding on the back of Quasimodo.
{"title":"A Second Concealment: Quasimodo in Thomas Mann’s Doktor Faustus","authors":"Seong Joo Lee","doi":"10.1515/arcadia-2023-2009","DOIUrl":"https://doi.org/10.1515/arcadia-2023-2009","url":null,"abstract":"Abstract This essay attempts to examine the intertextuality of the fictional character Quasimodo in Thomas Mann’s Doktor Faustus. Thomas Mann readily professes his affection for his fictional character Adrian, and admits to the existence of a close yet secret connection between Adrian and Mann himself. It can be concluded that Thomas Mann identifies not only with Adrian but also with Quasimodo, who himself loves Esmeralda. But why does he identify thus? There is no simple answer to this question, and here lies the secret of Thomas Mann’s way of working. To explain this, the present essay takes a slight detour and traces his way of thinking and working. This is referred to in this essay as the ‘second concealment,’ which logically presupposes knowledge of the ‘first concealment.’ In the course of this detour, we gain some insight into why Thomas Mann appears in Doktor Faustus riding on the back of Quasimodo.","PeriodicalId":43010,"journal":{"name":"ARCADIA","volume":" 10","pages":"69 - 91"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72381471","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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