{"title":"Biopolitical Bollywood: Sexual Violence as Cathartic Spectacle in Section 375 and Article 15","authors":"Swatie","doi":"10.17077/2168-569X.1547","DOIUrl":"https://doi.org/10.17077/2168-569X.1547","url":null,"abstract":"","PeriodicalId":448595,"journal":{"name":"The Iowa Journal of Cultural Studies","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128173703","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, Iowa Journal of Cultural Studies, Issue 20, Spring 2020","authors":"B. Estes","doi":"10.17077/2168-569x.1555","DOIUrl":"https://doi.org/10.17077/2168-569x.1555","url":null,"abstract":"","PeriodicalId":448595,"journal":{"name":"The Iowa Journal of Cultural Studies","volume":"76 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123180508","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 paper considers the processes by which characters actively affect change that is registerable and demonstrative over the course of a narrative. In Jonathan Franzen’s The Corrections, insight emerges as an influential thematic which triggers and determines the change that is possible for the three Lambert children by widening narrow perspectives, highlighting Franzen’s commitment to processes of the mind by which his characters seek to know and understand the world and their relationship to that world more completely. The importance of insight strengthens the opposition of critics like Rachel Greenwald Smith who believe the novel strengthens the “affective hypothesis” in fiction whereby individuals engineer their own feelings and emotions in such a way as to confirm neoliberal agendas that privilege the subject over networks (Smith 2). Attention to the specific peculiarities of insight in this novel, however, reveals the community strengthening potential of psychological change wrought by a strong commitment to “see[ing] the world differently” (Franzen 305).
{"title":"Turning Inward: Using Insight as a Catalyst for Change in \"The Corrections\"","authors":"Nicholas Manai","doi":"10.17077/2168-569X.1501","DOIUrl":"https://doi.org/10.17077/2168-569X.1501","url":null,"abstract":"This paper considers the processes by which characters actively affect change that is registerable and demonstrative over the course of a narrative. In Jonathan Franzen’s The Corrections, insight emerges as an influential thematic which triggers and determines the change that is possible for the three Lambert children by widening narrow perspectives, highlighting Franzen’s commitment to processes of the mind by which his characters seek to know and understand the world and their relationship to that world more completely. The importance of insight strengthens the opposition of critics like Rachel Greenwald Smith who believe the novel strengthens the “affective hypothesis” in fiction whereby individuals engineer their own feelings and emotions in such a way as to confirm neoliberal agendas that privilege the subject over networks (Smith 2). Attention to the specific peculiarities of insight in this novel, however, reveals the community strengthening potential of psychological change wrought by a strong commitment to “see[ing] the world differently” (Franzen 305).","PeriodicalId":448595,"journal":{"name":"The Iowa Journal of Cultural Studies","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-04-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122906691","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}
In my article, I examine a segment of the 2013 horror anthology, V/H/S/ 2. Entitled Safe Haven” and directed by young directors Timo Tjahjanto and Gareth Huw Evans, this segment stands out for its religious and metaphysical subject matter. Examining broader media theory concerns relating to the found-footage horror” subgenre, I consider how, during the course of Safe Haven”, the screen as frame is gradually supplanted by the increasingly unreal events portrayed in the segment. I seek to simultaneously engage with the question of realism in found footage films, while also utilizing Evan Calder-Williams’ notion of horrible form” to illuminate the various aesthetic features of Tjahjanto and Evans’ intensive work. In addition, I hope to shed new light on the found footage genre through utilizing some aspects of Aron Gurwitsch’s neglected work in field psychology. Borrowing Gurwitsch’s concept of thematic field”, I show how the various themes represented in Safe Haven” gradually modify the viewer experience, while also deforming the fields portrayed in the film. From a realistic, almost documentary film-style aesthetic, Tjahjanto and Evans transport us to a realm of transgressive religion. Beneath the form of religious piety, we uncover a transgressive spirituality, organized around what Friedrich Nietzsche characterizes in his Geneaology of Morals as the will to nothingness.” Beneath representation, the demonic lies in wait, eager to transcend the human element. Degrading everything it infects, the will to nothingness is born, tearing apart corporeality and, indeed, the realism of found footage as orphaned media. Both frame and body alike are torn to shreds. The key imperative of found-footage horror is the following: only the footage may remain intact.
{"title":"Thematic Fields, Transgressive Religion","authors":"A. Lovasz","doi":"10.17077/2168-569x.1490","DOIUrl":"https://doi.org/10.17077/2168-569x.1490","url":null,"abstract":"In my article, I examine a segment of the 2013 horror anthology, V/H/S/ 2. Entitled Safe Haven” and directed by young directors Timo Tjahjanto and Gareth Huw Evans, this segment stands out for its religious and metaphysical subject matter. Examining broader media theory concerns relating to the found-footage horror” subgenre, I consider how, during the course of Safe Haven”, the screen as frame is gradually supplanted by the increasingly unreal events portrayed in the segment. I seek to simultaneously engage with the question of realism in found footage films, while also utilizing Evan Calder-Williams’ notion of horrible form” to illuminate the various aesthetic features of Tjahjanto and Evans’ intensive work. In addition, I hope to shed new light on the found footage genre through utilizing some aspects of Aron Gurwitsch’s neglected work in field psychology. Borrowing Gurwitsch’s concept of thematic field”, I show how the various themes represented in Safe Haven” gradually modify the viewer experience, while also deforming the fields portrayed in the film. From a realistic, almost documentary film-style aesthetic, Tjahjanto and Evans transport us to a realm of transgressive religion. Beneath the form of religious piety, we uncover a transgressive spirituality, organized around what Friedrich Nietzsche characterizes in his Geneaology of Morals as the will to nothingness.” Beneath representation, the demonic lies in wait, eager to transcend the human element. Degrading everything it infects, the will to nothingness is born, tearing apart corporeality and, indeed, the realism of found footage as orphaned media. Both frame and body alike are torn to shreds. The key imperative of found-footage horror is the following: only the footage may remain intact.","PeriodicalId":448595,"journal":{"name":"The Iowa Journal of Cultural Studies","volume":"173 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125975658","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":"Revisionist Spectacle? Theatrical Remediation in Alejandro G. Iñárritu's Birdman and Quentin Tarantino's The Hateful Eight","authors":"F. Zitzelsberger, Sarah E. Beyvers","doi":"10.17077/2168-569X.1482","DOIUrl":"https://doi.org/10.17077/2168-569X.1482","url":null,"abstract":"","PeriodicalId":448595,"journal":{"name":"The Iowa Journal of Cultural Studies","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130175563","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":"A Genealogy of Collision: Robyn Schiff's A Woman of Property","authors":"C. Morrissey","doi":"10.17077/2168-569X.1467","DOIUrl":"https://doi.org/10.17077/2168-569X.1467","url":null,"abstract":"","PeriodicalId":448595,"journal":{"name":"The Iowa Journal of Cultural Studies","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125272123","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}
On either hand, far down below, rolled the deep foamy water of the Potomac, and before and behind the rapidly approaching step and noisy voices of pursuers, showing how vain would be any further effort for freedom. Her resolution was taken. She clasped her hands convulsively, and raised them, as she at the same time raised her eyes towards heaven, and begged for that mercy and compassion there, which had been denied her on earth; and then, with a single bound, she vaulted over the railings of the bridge, and sunk for ever beneath the waves of the river! (Hurston 207)The following passage, taken from William Wells Brown's Clotel, famously depicts the death of Thomas Jefferson's fictional mixed-race daughter. It also helps establish a literary tradition in which bridges fail, at least for some.1 Part of what makes Brown's hybrid text so remarkable, though, is its ability to imagine the unexpected linkages that begin to emerge in response to society's own infrastructural defects. Particularly in this scene, Clotel's raised hands and upward gaze transfigure the body itself into a kind of bridge, one whose vertical alignments call attention to the actual horizontal support systems that reduced the body to a mere property transaction. Clotel's suicide demonstrates what the de-propertying of American slaves looks like given a system that positions "freedom" in terms of territorial expansion, ownership, and regulation. Rather than return to the land of her captors, she "vault[s] over" into water, and this act of self-(un)making is motivated by and dependent on a sequence of surficial arrangements that are themselves inseparable from the personal and political landscapes to which they are a part. For Brown, such freedoms are always performed within a spatial arena that is at once physical and political, topographical and social, concrete and discursive. He sensed the ways in which human and geographic "bodies" were managed according to similar logics of territorial importance. Clotel, for example, had intended the "Long Bridge" to communicate her to safety, yet the romantic ideal she crafts of being able to "bury herself in a vast forest" (205) ultimately reveals itself as little more than an ironic foreshadowing of her being routinely "deposited" in a "hole dug in the sand" (207). Situating Clotel's nameless, abandoned corpse in relation to other well-known "bodies" like the Potomac River enables Brown to plot those sites of resistance normally muted by the neutralizing gestures of commercial maps.To deny that these geographic spaces code subjectivity the same way as Clotel's living (and dying) presence ignores the geopolitical significance of water as a body, as a measureable thing whose meaning is generated by a combination of material and immaterial investments. For the slave owner, the river signifies a capitalist futurity which cannot be detached from the physical property it transports. For Clotel, it serves as a destructive force capable of stalli
{"title":"Off the Grid: Zora Neale Hurston’s Racial Geography in Their Eyes Were Watching God","authors":"Alexander Ashland","doi":"10.17077/2168-569X.1472","DOIUrl":"https://doi.org/10.17077/2168-569X.1472","url":null,"abstract":"On either hand, far down below, rolled the deep foamy water of the Potomac, and before and behind the rapidly approaching step and noisy voices of pursuers, showing how vain would be any further effort for freedom. Her resolution was taken. She clasped her hands convulsively, and raised them, as she at the same time raised her eyes towards heaven, and begged for that mercy and compassion there, which had been denied her on earth; and then, with a single bound, she vaulted over the railings of the bridge, and sunk for ever beneath the waves of the river! (Hurston 207)The following passage, taken from William Wells Brown's Clotel, famously depicts the death of Thomas Jefferson's fictional mixed-race daughter. It also helps establish a literary tradition in which bridges fail, at least for some.1 Part of what makes Brown's hybrid text so remarkable, though, is its ability to imagine the unexpected linkages that begin to emerge in response to society's own infrastructural defects. Particularly in this scene, Clotel's raised hands and upward gaze transfigure the body itself into a kind of bridge, one whose vertical alignments call attention to the actual horizontal support systems that reduced the body to a mere property transaction. Clotel's suicide demonstrates what the de-propertying of American slaves looks like given a system that positions \"freedom\" in terms of territorial expansion, ownership, and regulation. Rather than return to the land of her captors, she \"vault[s] over\" into water, and this act of self-(un)making is motivated by and dependent on a sequence of surficial arrangements that are themselves inseparable from the personal and political landscapes to which they are a part. For Brown, such freedoms are always performed within a spatial arena that is at once physical and political, topographical and social, concrete and discursive. He sensed the ways in which human and geographic \"bodies\" were managed according to similar logics of territorial importance. Clotel, for example, had intended the \"Long Bridge\" to communicate her to safety, yet the romantic ideal she crafts of being able to \"bury herself in a vast forest\" (205) ultimately reveals itself as little more than an ironic foreshadowing of her being routinely \"deposited\" in a \"hole dug in the sand\" (207). Situating Clotel's nameless, abandoned corpse in relation to other well-known \"bodies\" like the Potomac River enables Brown to plot those sites of resistance normally muted by the neutralizing gestures of commercial maps.To deny that these geographic spaces code subjectivity the same way as Clotel's living (and dying) presence ignores the geopolitical significance of water as a body, as a measureable thing whose meaning is generated by a combination of material and immaterial investments. For the slave owner, the river signifies a capitalist futurity which cannot be detached from the physical property it transports. For Clotel, it serves as a destructive force capable of stalli","PeriodicalId":448595,"journal":{"name":"The Iowa Journal of Cultural Studies","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125043049","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}
Jerome McGann's1 talk "Exceptional Measures" was in itself "exceptional" in a number of ways. Delivered in the context of a conference with heavy emphasis on digital humanities and subtitled "The Human Sciences in STEM Worlds," McGann's keynote surprisingly bracketed off both of these fields-DH and modern science-to instead go back to the basics and make a passionate claim for reassessing the values that underlie the humanities as such. While McGann has been deeply engaged with bibliographic scholarship for most of his career, it was the highly focused nature necessitated by DH scholarship that, he claims, led him to realize he "didn't know what books were" in the first place. The abstracting and operationalizing of literary objects into the digital sphere made the co-founder of the University of Virginia's groundbreaking "Research in Patacriticism"2 lab understand that he wanted to pursue a more humble approach to scholarship: instead of datamining, digital editions, and textual mapping, McGann is now interested in "Truth."McGann's conscious embrace of such a transcendental signifier was as much programmatic as polemic. The argument of "Exceptional Measures" was not merely "post theory" but explicitly anti theory-with de Man's deconstruction serving as the prototype of a "misguided" model of scholarship. Describing the literary theory of the latter twentieth century as disclosing a "Cheneyan concept of knowledge" (in allusion to the lies and half-truths that lead to the second Iraq War), McGann pleaded for a renewed separation between "perceived fact" and "opinion"-which, he claimed, are utterly confused in post-structuralism, psychoanalysis, and like concepts. Against theory, McGann proposed a skeptical empiricism. While this notion has a prehistory in Socrates and Plato, the focus of McGann's talk was with the New England transcendentalists-Emerson and Thoreau-and their ongoing legacy in more recent environmental writings (especially Barry Lopez's 1986 Arctic Dreams). McGann's vision of the scientific process (hinted at in his talk's title) is then not so much a (post)modern one-based largely in falsification, not positive proof-but one that understands itself as performing a "pastoral office;" thorough and careful practice dedicated to the accurate report of a historical Truth writ large is its method and end goal. McGann, then, ultimately pleads for slow, historicist scholarship that avoids the "propaganda and confusion" perpetuated by theory. To tell "the truth and nothing but the truth" ought to be the scholar's commitment, according to McGann. While he stops short of adding "so help me God," McGann's claim was then based certainly as much in the long history of scriptural exegesis as it is in the more secular, literary trajectory laid out by "Exceptional Measures. …
{"title":"Scholarship as Testimony: Jerome McGann’s Keynote Address for the 16th Annual Craft Critique Culture Conference, 2016","authors":"Stefan Schöberlein","doi":"10.17077/2168-569X.1470","DOIUrl":"https://doi.org/10.17077/2168-569X.1470","url":null,"abstract":"Jerome McGann's1 talk \"Exceptional Measures\" was in itself \"exceptional\" in a number of ways. Delivered in the context of a conference with heavy emphasis on digital humanities and subtitled \"The Human Sciences in STEM Worlds,\" McGann's keynote surprisingly bracketed off both of these fields-DH and modern science-to instead go back to the basics and make a passionate claim for reassessing the values that underlie the humanities as such. While McGann has been deeply engaged with bibliographic scholarship for most of his career, it was the highly focused nature necessitated by DH scholarship that, he claims, led him to realize he \"didn't know what books were\" in the first place. The abstracting and operationalizing of literary objects into the digital sphere made the co-founder of the University of Virginia's groundbreaking \"Research in Patacriticism\"2 lab understand that he wanted to pursue a more humble approach to scholarship: instead of datamining, digital editions, and textual mapping, McGann is now interested in \"Truth.\"McGann's conscious embrace of such a transcendental signifier was as much programmatic as polemic. The argument of \"Exceptional Measures\" was not merely \"post theory\" but explicitly anti theory-with de Man's deconstruction serving as the prototype of a \"misguided\" model of scholarship. Describing the literary theory of the latter twentieth century as disclosing a \"Cheneyan concept of knowledge\" (in allusion to the lies and half-truths that lead to the second Iraq War), McGann pleaded for a renewed separation between \"perceived fact\" and \"opinion\"-which, he claimed, are utterly confused in post-structuralism, psychoanalysis, and like concepts. Against theory, McGann proposed a skeptical empiricism. While this notion has a prehistory in Socrates and Plato, the focus of McGann's talk was with the New England transcendentalists-Emerson and Thoreau-and their ongoing legacy in more recent environmental writings (especially Barry Lopez's 1986 Arctic Dreams). McGann's vision of the scientific process (hinted at in his talk's title) is then not so much a (post)modern one-based largely in falsification, not positive proof-but one that understands itself as performing a \"pastoral office;\" thorough and careful practice dedicated to the accurate report of a historical Truth writ large is its method and end goal. McGann, then, ultimately pleads for slow, historicist scholarship that avoids the \"propaganda and confusion\" perpetuated by theory. To tell \"the truth and nothing but the truth\" ought to be the scholar's commitment, according to McGann. While he stops short of adding \"so help me God,\" McGann's claim was then based certainly as much in the long history of scriptural exegesis as it is in the more secular, literary trajectory laid out by \"Exceptional Measures. …","PeriodicalId":448595,"journal":{"name":"The Iowa Journal of Cultural Studies","volume":"2450 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130951922","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":"Literary Technofiles: Replacing Piers of the Past with Bridges to the Future","authors":"Gavin Feller","doi":"10.17077/2168-569X.1471","DOIUrl":"https://doi.org/10.17077/2168-569X.1471","url":null,"abstract":"","PeriodicalId":448595,"journal":{"name":"The Iowa Journal of Cultural Studies","volume":"169 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121826733","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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