Pub Date : 2023-04-01DOI: 10.1215/00138282-10293129
Jerry C. Zee
This essay is an experiment in figuring the pandemic through its reconfigurations of Chineseness. It departs from the Sinophobic cliché that conflates race, geopolitics, and epidemiology: the “China Virus” and its cloud of cognate slurs. It considers the slogan-slur as both an epithet and a conceptual and political challenge to imagine the pandemic as it is lived, still, as a disorientation of Asian and Asian American life, time, and death. The essay pauses at each of the three Lunar New Years of the pandemic, so far, to consider how Chineseness—as a national example, as a mode of racialization, and as a site of racial suspicion—might upset a US-based accounting of the pandemic, which frames it only through its arrival on American shores.
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Pub Date : 2023-04-01DOI: 10.1215/00138282-10293162
M. Bérubé
Abstract:This essay draws on the author's experiences in the Faculty Senate at Pennsylvania State University and cochairing a committee on COVID-19 and shared governance for the American Association of University Professors.
摘要：本文借鉴了作者在宾夕法尼亚州立大学教务会和美国大学教授协会新冠肺炎和共同治理委员会的经验。
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Pub Date : 2023-04-01DOI: 10.1215/00138282-10293151
Henry A. Giroux
Abstract:This essay offers an overview of the threats posed to our democratic and educational institutions by neoliberalism and neofascism and articulates a pedagogy of "educated hope" based on the work of Ernst Bloch, Paulo Freire, and James Baldwin to restore a sense of civic and democratic agency in the classroom and other public settings.
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Pub Date : 2023-04-01DOI: 10.1215/00138282-10293217
Alexander Mazzaferro
H ow can literary scholars productively engage with the contradictions of revolutionary violence, both as a historical phenomenon and as a legacy that continues to script contemporary politics? In particular, how might we situate major upheavals like the American Revolution, Haitian Revolution, and US Civil War— when violent insurrection proved central to dismantling and defending figurative and literal forms of slavery—alongside latter-day instances of antidemocratic, white-supremacist violence that reveal the as-yet-incomplete nature of those very events? This essay takes up these questions by considering three recent publications. Shelby Johnson’s 2020 article, “‘The Fate of St. Domingo Awaits You’: Robert Wedderburn’sUnfinishedRevolution,” andBetsy Erkkila’s 2021 article, “PhillisWheatley on the Streets of Revolutionary Boston and in the AtlanticWorld,” each consider an early Black Atlantic theorization of insurrection forged at the crossroads of antislavery activism, evangelical Protestantism, and revolutionary ideology. Reading these works in dialogue with Chris Hayes’s January 7, 2021, interview with Ta-Nehisi Coates about the January 6 US Capitol insurrection clarifies racism’s paradoxical role as democracy’s limit case and its most inexorable summons to fulfillment. Johnson’s eloquent and provocative article offers a reading of The Axe Laid to the Root, an 1817 periodical produced by themixed-race, Jamaican-born abolitionist and radical activist Robert Wedderburn (1762–1835?). Taking as her point of departure the text’s prophetic warning of an “imminent Jamaican insurrection”modeled on the Haitian Revolution, Johnson analyzes The Axe’s formal quirks to excavate Wedderburn’s “radical historical sensibility.”1 Informed by early nineteenth-century millenarianism and ideas circulating in London’s radical underground, the text elaborates a complex political temporality that “layer[s] past and future history” to imagine “a revolution that . . . hasboth alreadyhappened and is yet to come.”2 In so doing, Wedderburn simultaneously evinces a “commitment to revolutionary inevitability and a recognition of its profound contingencies.”3 For Johnson, Wedderburn’s literary ventriloquy—his evocation of multiple voices, including those of the enslaved and the deceased—diffuses revolutionary agency inways that at once defer and guarantee liberation’s eventual arrival. Transforming the liability of individual human “finitude” into an asset through acts of imagined collectivity, The Axe “conjures out of revolution’s unfinishedness a wholly new future.”4
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Pub Date : 2023-04-01DOI: 10.1215/00138282-10293195
Priscilla Wald
With the onset of the COVID-19 pandemic, I found myself returning in my thinking, reading, writing, and teaching to the classical understanding of plagues as messages from the gods that something was out of order in the social world. The pandemic has highlighted many aspects of the social world in the United States (and elsewhere) that are out of order, including structural racism, socioeconomic inequities, climate change and environmental devastation, and inadequate and unjust health-care systems. The authors of these essays, of course, did not need a global pandemic to spotlight those concerns, but the pandemic has made clear the imperative to address them and has forced us, through necessary adaptations, to take the time to think differently about our habitual practices in our work as scholars and teachers of literature and culture.The word crisis has its origin in medical terminology—from medieval Latin, by way of Greek krisis, “decision”—a turning point in the illness in which the patient either recovers or dies. The pandemic has been a crisis of crises. Even as it has brought each of the social, economic, and environmental crises more sharply into view, it is itself a kaleidoscopic expression of their consequences. Each of those crises is a contributing factor in turning an outbreak into a global pandemic. The conversation in which these essays are collectively engaging is one I have been hearing informally as SARS-CoV-2 has circulated among us: What can we contribute specifically as professors of literature and culture through our scholarship and our pedagogy? And what have we learned through this experience that might change our practices both on the page and in the classroom?While those are standard questions that surface routinely in our circles, the pandemic, as these essays suggest, has brought them into focus with a stark clarity reminiscent of what Walter Benjamin describes, in his lyrical meditation “Theses on the Philosophy of History,” as memories flashing up “at a moment of danger.”1 The intensified insight that has surfaced with the pandemic has shown the need for institutional change, from the governance structure of the university (as in Michael Bérubé’s essay) to the habitual practices in our classrooms. Note, for example, Barbara Fuchs’s description of one of the most sobering moments in [her] research [that] came when [she] realized that the questions of form and genre that preoccupy a critic were in this case literally matters of life and death: as the unions argued over whether streamed theater counted as theater or film, the health insurance of hundreds of artists hung in the balance, given that they needed to work for a certain number of weeks per year in their respective modes to qualify for the benefits that Equity and the Screen Actors Guild provided exclusively to those working on their own turf.Each of the crises addressed in these essays is a Benjaminian “moment of danger,” as, of course, is the pandemic. “In the
随着疫情的蔓延，我发现自己像吉鲁一样沉思着，我们是那部“反乌托邦小说”中的人物，但正如吉尔伯特强调他既是棋盘游戏中的玩家，也是角色一样，我们需要记住，人类既是莱德伯格惊悚小说的作者，也是其中的角色。当然，作者身份是不成比例的，责任和风险在很大程度上是成反比分布的。但必须认识到，大流行是人类行为的结果，既不是上帝的语言，也不是完全偶然的结果。Lederberg认为，虽然“通过发现和利用在其他物种中进化出来的创新，将会发现对抗病原体的新战略和战术，……我们最复杂的飞跃将是放弃对微生物的摩尼教式观点——“我们很好;他们邪恶的。他解释说，这种归因忽视了人类与有益微生物的关系，以及我们可以更有效地预防或至少减轻疫情影响的免疫策略。它还模糊了人类在创造产生它们的条件方面所起的作用。“也许，”他继续说，“我们能做的最重要的改变之一就是取代20世纪用来描述人与传染病病原体之间关系的战争比喻。一个更有生态学知识的比喻，包括细菌对感染的看法，可能会更有成效。莱德伯格的建议是一个值得铭记的教训，不仅适用于流行病，更广泛地说，也适用于气候变化和我们面临的许多其他环境危机。就这一点而言，值得思考的是，为什么战争隐喻在所有这些危机中如此泛滥，而不是相互依存与合作的生态隐喻。关键是语言很重要;我们谈论事物的方式反映并影响着我们对事物的理解。这无疑是文学和文化评论家们所擅长教授的一课。本期特刊中的文章非常符合莱德伯格的论点精神。就像吉尔伯特观察到的那样，棋盘游戏可以让我们洞察我们世界中的权力结构，并在这个过程中教会我们解决现实世界问题所需的策略，Lederberg提醒我们，我们通过自己讲述的故事居住和体验这个世界，但这些故事是会改变的。细菌的视角展示了我们环境的相互联系。它向我们展示了脆弱的地方:微生物如何利用我们世界的不平等，在社会经济不平等和不完善的医疗保健系统造成的人群中扎根——正如Lennard J. Davis和Jerry Zee在他们的文章中清晰而深刻地说明的那样——搭便车在我们全球经济中流通货物和人员的快速运输系统上。细菌的视角展示了全球体系中特权和被授权者的后果和优先事项。莱德伯格在展示我们如何改变我们的词汇和故事，以改变我们的观点，从而改变我们的世界时，他说的是人文科学和社会科学以及科学的语言。这期特刊的文章思考了文学和文化评论家可以给我们的学术和教育学带来的一些变化。正如Christina Katopodis在文章的开头提到的，她引用了Paulo Freire的《被压迫者的教育学》，“在危机之后，我们有一个惊人的改变机会:我们可以从过去的银行模式(学生被动地接受教师的专业知识)转向生态模式，采用一种可居住的教学法，教学生如何在一个快速发展的世界中生活，并解决其问题，使我们的星球适合后代居住。”也就是说，我们文学和文化评论家可以告诉他们，人类是通过语言和故事认识世界的;我们可以教他们认识到这些故事的来源;正如凯利·l·贝齐奥(Kelly L. Bezio)在她的一篇关于19世纪中期作品《我们的黑夜》(Our night)与当代的相关性的文章中所描述的那样，我们可以共同努力，考虑如何改变它们。我发现我们的学生对他们想要生活的世界有很多想法，对如何到达那里有令人耳目一新的原创想法。然而，本雅明提出了一个重要的提醒，提醒我们要做出这样的改变是多么困难——回归到墨守成规的诱惑——因此我们需要保持警惕:正如这些文章所倡导的那样，努力抵制“回归正常”的诱惑，尤其是在我们可以控制的领域，我们的教室，我们的奖学金，以及b<s:1> rub<e:1>所坚持的，我们机构的教师管理。有一个特别的危机我没有提到。
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Pub Date : 2023-04-01DOI: 10.1215/00138282-10293107
Lennard J. Davis
Abstract The pandemic revealed the workings of biopower in relation to people with disabilities. In focusing on lives worth living, decisions were made based on metrics about the quality of life of various groups. Ultimately, the pandemic revealed the power structure lurking behind a rhetoric of “care and compassion.”
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Pub Date : 2023-04-01DOI: 10.1215/00138282-10293118
Andrew Gilbert
Abstract:This essay analyzes the 2007 board game Pandemic in light of the COVID-19 global pandemic. The essay explores the connections between the reality of Pandemic and the play of COVID-19. To do this, it uses Ian Bogost's interpretation of systems (both real and imagined) to invite a dialectic of reality and game simulation. The interaction of such systems, in a game whose theme became real, highlights a major tenet of game studies—the borders between reality and games are thin, blurred, and mobile, if they exist at all. Games, in their simulation of the real, are mimetic, and, in turn, reality has become gamified. The essay examines the board game and highlights its mechanics, which include cooperation and mitigation of risk. It also explores how the game and reality blur their borders in this instance of play, inviting further study into the ramifications of simulated games and the fantasy of the real.
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Pub Date : 2022-10-01DOI: 10.1215/00138282-9890747
Marylaura Papalas
This article examines descriptions of women and airplanes in the pages of American and French interwar fashion magazines. Samples from Femina, La Gazette du Bon Ton, Harper’s Bazaar, Ladies Home Journal, Vogue (American and Paris editions), and Women’s Wear Daily illustrate how the relationship between women and transportation technology evolved to promote messages of female independence, illustrated by aviatrix ensembles from Madeleine Vionnet and Elsa Schiaparelli. These designs and representations of them in transatlantic media fused the body with the machine, presenting what Jessica Burstein describes as “cold modernism.” But these same publications also played on an imperialist sense of superiority, trafficking in racial slurs and cultural bigotry, a preponderant phenomenon described by Anne McClintock in her book Imperial Leather. Ultimately, the spectacularization of aviation and style in fashion media exposed borders that represented either freedom or confinement for women: borders between the nimble body and the clothing that restricted it, between sedentary flesh and flying machine, between the stationary present and the fast-moving future, between the familiar “I” and the unknown other. This article uncovers those technological thresholds and the fashionable women who dared to cross them.
这篇文章考察了美国和法国两次世界大战时尚杂志对女性和飞机的描述。《Femina》、《La Gazette du Bon Ton》、《Harper’s Bazaar》、《女士家庭杂志》、《Vogue》（美国版和巴黎版）和《女装日报》的样本展示了女性与交通技术之间的关系是如何演变以促进女性独立的信息的，马德琳·维奥内特和艾尔莎·斯基亚帕雷利的鸟人合奏为例。这些设计和在跨大西洋媒体上的表现将身体与机器融合在一起，呈现出杰西卡·布尔斯坦所描述的“冷现代主义”。但这些出版物也利用了帝国主义的优越感、种族诽谤和文化偏见，安妮·麦克林托克在她的《帝国皮革》一书中描述了这一主要现象。最终，时尚媒体中航空和时尚的壮观展示了女性要么自由，要么封闭的边界：灵活的身体和限制它的衣服之间的边界，久坐的身体和飞行的机器之间的边界、静止的现在和快速移动的未来之间的边界以及熟悉的“我”和未知的另一个之间的边界。这篇文章揭示了那些技术门槛和敢于跨越这些门槛的时尚女性。
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Pub Date : 2022-10-01DOI: 10.1215/00138282-9890868
David T. Mitchell
{"title":"An Avalanche of Cultural Rejections","authors":"David T. Mitchell","doi":"10.1215/00138282-9890868","DOIUrl":"https://doi.org/10.1215/00138282-9890868","url":null,"abstract":"","PeriodicalId":43905,"journal":{"name":"ENGLISH LANGUAGE NOTES","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46825517","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 : 2022-10-01DOI: 10.1215/00138282-9890813
Aymê Okasaki
This article discusses the concept of Afro-Brazilian fashion in Candomblé, considering their transatlantic symbolic exchanges in an aesthetics of dress, based on the four vectors proposed by Cunnington—fabric, color, shape, and mobility—through which fashion is expressed. In the eighteenth and nineteenth centuries, Brazil received ships from the African coast with așǫ oke, a handwoven fabric created by the Yorùbás to be used as head wraps or to be sewn and worn as shawls by Black women. This and other fabrics, such as wax prints, enter the terreiros as a search for aesthetic identity through clothing, especially during the second half of the twentieth century with the (re)Africanization movement. In this scenario, fabric and color join the shapes and silhouettes of Candomblé costumes to create aesthetic crossovers. While silhouettes common to Brazil’s colonial period meet the various forms of fabric binding in traditional Candomblé costumes, the (re)Africanized terreiros bring more rectangular shapes to their dress. Adorning these costumes are the insignias worn by the òrìṣàs, which act as an extension of their gestures. Wielding, wearing, and adorning themselves with different insignias on their arms, head, and legs, the òrìṣàs dramatize their mythical stories, in narrative and symbolic performances of dress. Thus the Afro-Atlantic fashion seen in these costumes escapes the boundaries of Euro-Western fashion.
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