Abstract:In the past twenty years, the Anthropocene debate in the humanities and social sciences has focused on two basic approaches concerning the rise and challenge of anthropogenic climate change. The former critically addresses the socio-political underbelly of the re-centering of the human species as a geological force as proposed by the natural sciences through the guiding question: Who is the Anthropos? The latter examines the ethical challenges we face in the wake of deep timespans and fragmented agencies. This article presents the upshots of this ongoing debate and suggests an ontological framework of distributed identities between different conceptual horizons of humanoid formations between the 'Anthropos' (plurality as a single whole) and what I call 'anthropo(i)s' (singulars within plural wholes) to address the tension between individual responsibility (not everyone is equally guilty) and agential response-ability (humans, not tortoises, caused climate change).
{"title":"Anthropocene Horcruxes: Toward a Theory of Distributed Identities","authors":"Niels Wilde","doi":"10.1353/sub.2022.0014","DOIUrl":"https://doi.org/10.1353/sub.2022.0014","url":null,"abstract":"Abstract:In the past twenty years, the Anthropocene debate in the humanities and social sciences has focused on two basic approaches concerning the rise and challenge of anthropogenic climate change. The former critically addresses the socio-political underbelly of the re-centering of the human species as a geological force as proposed by the natural sciences through the guiding question: Who is the Anthropos? The latter examines the ethical challenges we face in the wake of deep timespans and fragmented agencies. This article presents the upshots of this ongoing debate and suggests an ontological framework of distributed identities between different conceptual horizons of humanoid formations between the 'Anthropos' (plurality as a single whole) and what I call 'anthropo(i)s' (singulars within plural wholes) to address the tension between individual responsibility (not everyone is equally guilty) and agential response-ability (humans, not tortoises, caused climate change).","PeriodicalId":45831,"journal":{"name":"SUB-STANCE","volume":"51 1","pages":"73 - 89"},"PeriodicalIF":0.3,"publicationDate":"2022-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46949456","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article explores the representation of human‒animal interaction in D. H. Lawrence's poems "Bat" and "Man and Bat." Many influential critics interpret the poems as emphasizing the lack of connection, hospitality, and empathy between the poet and the bats, focusing on the relentless objectification of the animals and the poet's negative attitude towards them. We argue, however, that these poems can also invite different types of readings, by investigating the ways in which Lawrence employs perceptual and kinetic imagery to create a certain degree of embodied, kinesthetic empathy with the bats. Using theoretical and methodological frameworks from cognitive-literary approaches to kinesthesia and human‒animal studies, we analyze Lawrence's multilayered poetic rendition of human‒animal interaction, to understand how the poet stages the tension between the symbolic/cultural connotations associated with bats and humans' perception of their embodied, affective, and kinetic being.
{"title":"A Twitch, a Twitter, an Elastic Shudder in Flight: Kinesthetic Empathy in D. H. Lawrence's Bat Poems","authors":"Andrei Ionescu, H. A. Al-Khalaf","doi":"10.1353/sub.2022.0011","DOIUrl":"https://doi.org/10.1353/sub.2022.0011","url":null,"abstract":"Abstract:This article explores the representation of human‒animal interaction in D. H. Lawrence's poems \"Bat\" and \"Man and Bat.\" Many influential critics interpret the poems as emphasizing the lack of connection, hospitality, and empathy between the poet and the bats, focusing on the relentless objectification of the animals and the poet's negative attitude towards them. We argue, however, that these poems can also invite different types of readings, by investigating the ways in which Lawrence employs perceptual and kinetic imagery to create a certain degree of embodied, kinesthetic empathy with the bats. Using theoretical and methodological frameworks from cognitive-literary approaches to kinesthesia and human‒animal studies, we analyze Lawrence's multilayered poetic rendition of human‒animal interaction, to understand how the poet stages the tension between the symbolic/cultural connotations associated with bats and humans' perception of their embodied, affective, and kinetic being.","PeriodicalId":45831,"journal":{"name":"SUB-STANCE","volume":"51 1","pages":"21 - 37"},"PeriodicalIF":0.3,"publicationDate":"2022-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45137711","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Nicholas Winding Refn regularly appears to offer men as his audience's main point of identification. Yet these men are predominantly transgressive characters who frequently, if not constantly, frustrate spectator-identification and consequently linger on the periphery of cinematic paradigms. In three stages, this article analyses how Refn's violent male characters affect spectatorship. First, it considers the unstable subject mechanisms for spectator-identification afforded by classical Hollywood cinema. Second, it examines Julia Kristeva's psychoanalytical theorization of the abject and outlines the relevance of her concepts to Refn's narratives. Third, it conducts a close textual analysis of Bronson (2008) and Drive (2011), arguing that the disregard for symbolic order demonstrated by Refn's male protagonists and their concomitant embrace of the death drive inhibit spectator-identification. This analysis ultimately aims to demonstrate the import of Kristeva's theories to a more comprehensive understanding of the abject's complex relationship to Refn's œuvre and to spectator-identification in cinema.
{"title":"Nicholas Winding Refn's Abject Male: Inhibiting Spectator-Identification in Bronson (2008) and Drive (2011)","authors":"Barry Nevin, Aoife M. O’Connor","doi":"10.1353/sub.2022.0012","DOIUrl":"https://doi.org/10.1353/sub.2022.0012","url":null,"abstract":"Abstract:Nicholas Winding Refn regularly appears to offer men as his audience's main point of identification. Yet these men are predominantly transgressive characters who frequently, if not constantly, frustrate spectator-identification and consequently linger on the periphery of cinematic paradigms. In three stages, this article analyses how Refn's violent male characters affect spectatorship. First, it considers the unstable subject mechanisms for spectator-identification afforded by classical Hollywood cinema. Second, it examines Julia Kristeva's psychoanalytical theorization of the abject and outlines the relevance of her concepts to Refn's narratives. Third, it conducts a close textual analysis of Bronson (2008) and Drive (2011), arguing that the disregard for symbolic order demonstrated by Refn's male protagonists and their concomitant embrace of the death drive inhibit spectator-identification. This analysis ultimately aims to demonstrate the import of Kristeva's theories to a more comprehensive understanding of the abject's complex relationship to Refn's œuvre and to spectator-identification in cinema.","PeriodicalId":45831,"journal":{"name":"SUB-STANCE","volume":"33 4","pages":"38 - 60"},"PeriodicalIF":0.3,"publicationDate":"2022-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41297046","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Though we forget most of the fiction that we read, something remains. This essay asks what forms that "something" might take in readers' memories, a question that recurs in the work of the Australian writer Gerald Murnane. When a novel's plot lines and visualized incidents have faded away, there may still linger an atmosphere peculiar to it, which is evoked by its title.
{"title":"Reading's Residue","authors":"Peter Schwenger","doi":"10.1353/sub.2022.0013","DOIUrl":"https://doi.org/10.1353/sub.2022.0013","url":null,"abstract":"Abstract:Though we forget most of the fiction that we read, something remains. This essay asks what forms that \"something\" might take in readers' memories, a question that recurs in the work of the Australian writer Gerald Murnane. When a novel's plot lines and visualized incidents have faded away, there may still linger an atmosphere peculiar to it, which is evoked by its title.","PeriodicalId":45831,"journal":{"name":"SUB-STANCE","volume":"51 1","pages":"61 - 72"},"PeriodicalIF":0.3,"publicationDate":"2022-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46554797","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Nearly twenty years after SubStance devoted a special issue to the contemporary French writer (and translator) we know as Antoine Volodine, we are thoroughly pleased to be publishing in this issue the opening of Dondog, a novel that Ben Streeter has translated with inspired exactitude and brilliant tonal precision. In English or in French, entering Dondog is not unlike entering any other “post-exotic” text (I will come back to this label shortly). One has to learn how to orient oneself to the ruination of Modernity, within the dysfunctional memories of post-traumatic subjects, between dark humor and luminous despair, in the liminal space between life and death, between humanity and animality, and, in the odd beauty of a language that gives transmissible form to the experience of our contemporary hellscape. Post-Exoticism has a soft spot for odd numbers, especially palindromes, and it was fitting that, in 2003, SubStance devoted its Issue 101 to Volodine. At the time, his highly singular literature was barely known in the United States. In France, the “happy few” who had discovered Volodine through his early Science Fictional trilogy in the mid-1980s had grown into a solid general readership. Volodine had theorized his fictional literary movement in 1998 and he started publishing post-exotic texts in the name of his three heteronyms, Ellie Kronaeur, Manuela Draeger, and Lutz Bassman, becoming the object of significant, albeit dispersed, academic curiosity. In 1999 and 2000, Post-Exoticism gained clear critical recognition when his Des anges mineurs (later translated as Minor Angels) was awarded a couple of important awards (the Prix Wepler and the Prix du livre Inter). In the U.S., though, the post-exotic readership was limited to a few Francophones in the know, and to the lucky readers who had stumbled upon Volodine’s Naming the Jungle, the only post-exotic novel
{"title":"Dondog and the Post-Exotic After All","authors":"É. Colon","doi":"10.1353/sub.2022.0015","DOIUrl":"https://doi.org/10.1353/sub.2022.0015","url":null,"abstract":"Nearly twenty years after SubStance devoted a special issue to the contemporary French writer (and translator) we know as Antoine Volodine, we are thoroughly pleased to be publishing in this issue the opening of Dondog, a novel that Ben Streeter has translated with inspired exactitude and brilliant tonal precision. In English or in French, entering Dondog is not unlike entering any other “post-exotic” text (I will come back to this label shortly). One has to learn how to orient oneself to the ruination of Modernity, within the dysfunctional memories of post-traumatic subjects, between dark humor and luminous despair, in the liminal space between life and death, between humanity and animality, and, in the odd beauty of a language that gives transmissible form to the experience of our contemporary hellscape. Post-Exoticism has a soft spot for odd numbers, especially palindromes, and it was fitting that, in 2003, SubStance devoted its Issue 101 to Volodine. At the time, his highly singular literature was barely known in the United States. In France, the “happy few” who had discovered Volodine through his early Science Fictional trilogy in the mid-1980s had grown into a solid general readership. Volodine had theorized his fictional literary movement in 1998 and he started publishing post-exotic texts in the name of his three heteronyms, Ellie Kronaeur, Manuela Draeger, and Lutz Bassman, becoming the object of significant, albeit dispersed, academic curiosity. In 1999 and 2000, Post-Exoticism gained clear critical recognition when his Des anges mineurs (later translated as Minor Angels) was awarded a couple of important awards (the Prix Wepler and the Prix du livre Inter). In the U.S., though, the post-exotic readership was limited to a few Francophones in the know, and to the lucky readers who had stumbled upon Volodine’s Naming the Jungle, the only post-exotic novel","PeriodicalId":45831,"journal":{"name":"SUB-STANCE","volume":"51 1","pages":"90 - 96"},"PeriodicalIF":0.3,"publicationDate":"2022-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41479782","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Although Angelina Weld Grimké's 1916 play, Rachel, has historically been read as a sentimental, anti-lynching drama, such classifications might limit the play's anarchic potential. Instead of viewing the characters as responding to anti-Black violence, this paper proposes reframing the play's discussion within a context of Black maternity and its necessary engagement with the Afro-pessimist concept of social death. Such reorientation suggests that Rachel works within the theater's very materiality in order to explore the effects of anti-Blackness on Black life. Specifically, this paper argues that the play's performances of abiological Black maternity—and, particularly, the titular character's performances—fugitively evade the natal alienation of social death. Furthermore, such performances link past, present, and future stage productions as well as character representations, recreating kinship formations within Black social life to stage spatio-temporal disruptions on the equation of Blackness as social death. In this way, Rachel offers modern scholars an understanding of how older works might yet be read in light of the more recent theoretical work of radical Black feminist and Afro-pessimist scholars.
{"title":"The Death of Social Death: Im/possibility of Black Maternity in Angelina Weld Grimké's Rachel","authors":"Kym Cunningham","doi":"10.1353/sub.2022.0010","DOIUrl":"https://doi.org/10.1353/sub.2022.0010","url":null,"abstract":"Abstract:Although Angelina Weld Grimké's 1916 play, Rachel, has historically been read as a sentimental, anti-lynching drama, such classifications might limit the play's anarchic potential. Instead of viewing the characters as responding to anti-Black violence, this paper proposes reframing the play's discussion within a context of Black maternity and its necessary engagement with the Afro-pessimist concept of social death. Such reorientation suggests that Rachel works within the theater's very materiality in order to explore the effects of anti-Blackness on Black life. Specifically, this paper argues that the play's performances of abiological Black maternity—and, particularly, the titular character's performances—fugitively evade the natal alienation of social death. Furthermore, such performances link past, present, and future stage productions as well as character representations, recreating kinship formations within Black social life to stage spatio-temporal disruptions on the equation of Blackness as social death. In this way, Rachel offers modern scholars an understanding of how older works might yet be read in light of the more recent theoretical work of radical Black feminist and Afro-pessimist scholars.","PeriodicalId":45831,"journal":{"name":"SUB-STANCE","volume":"51 1","pages":"20 - 3"},"PeriodicalIF":0.3,"publicationDate":"2022-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43007914","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Documents of Utopia: The Politics of Experimental Ethnography by Paolo Magagnoli (review)","authors":"Kamil Lipiński","doi":"10.1353/sub.2022.0019","DOIUrl":"https://doi.org/10.1353/sub.2022.0019","url":null,"abstract":"","PeriodicalId":45831,"journal":{"name":"SUB-STANCE","volume":"51 1","pages":"115 - 119"},"PeriodicalIF":0.3,"publicationDate":"2022-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45813343","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-01Epub Date: 2022-04-28DOI: 10.1007/s00431-022-04482-z
Stephanie M Hadley, Ashwin Prakash, Annette L Baker, Sarah D de Ferranti, Jane W Newburger, Kevin G Friedman, Audrey Dionne
Myocarditis is a rare complication of the COVID-19 mRNA vaccine. We previously reported a case series of 15 adolescents with vaccine-associated myocarditis, 87% of whom had abnormalities on initial cardiac magnetic resonance (CMR), including late gadolinium enhancement (LGE) in 80%. We performed follow-up CMRs to determine the trajectory of myocardial recovery and better understand the natural history of vaccine-associated myocarditis. Case series of patients age < 19 years admitted to Boston Children's Hospital with acute vaccine-associated myocarditis following the BNT162b2 vaccine who had abnormal CMR at the time of initial presentation, and underwent follow-up testing. CMR assessment included left ventricular (LV) ejection fraction, T2-weighted myocardial imaging, LV global native T1, LV global T2, extracellular volume (ECV), and late gadolinium enhancement (LGE). Ten patients (9 male, median age 15 years) with vaccine-associated myocarditis underwent follow-up CMR at a median of 92 days (range 76-119) after hospital discharge. LGE was persistent in 80% of patients, though improved from prior in all cases. Two patients (20%) had abnormal LV global T1 at presentation, which normalized on follow-up. ECV decreased between acute presentation and follow-up in 6/10 patients; it remained elevated at follow-up in 1 patient and borderline in 3 patients.
Conclusion: CMR performed ~3 months after admission for COVID-19 vaccine-associated myocarditis showed improvement of LGE in all patients, but persistent in the majority. Follow-up CMR 6-12 months after acute episode should be considered to better understand the long-term cardiac risks.
What is known: • Myocarditis is a rare side effect of COVID-19 mRNA vaccine. •Late gadolinium enhancement is present on most cardiac magnetic resonance at the time of acute presentation.
What is new: •Late gadolinium enhancement improved on all repeat cardiac magnetic resonance at 3-month follow-up. •Most patients still had a small amount of late gadolinium enhancement, the clinical significance of which is yet to be determined.
{"title":"Follow-up cardiac magnetic resonance in children with vaccine-associated myocarditis.","authors":"Stephanie M Hadley, Ashwin Prakash, Annette L Baker, Sarah D de Ferranti, Jane W Newburger, Kevin G Friedman, Audrey Dionne","doi":"10.1007/s00431-022-04482-z","DOIUrl":"10.1007/s00431-022-04482-z","url":null,"abstract":"<p><p>Myocarditis is a rare complication of the COVID-19 mRNA vaccine. We previously reported a case series of 15 adolescents with vaccine-associated myocarditis, 87% of whom had abnormalities on initial cardiac magnetic resonance (CMR), including late gadolinium enhancement (LGE) in 80%. We performed follow-up CMRs to determine the trajectory of myocardial recovery and better understand the natural history of vaccine-associated myocarditis. Case series of patients age < 19 years admitted to Boston Children's Hospital with acute vaccine-associated myocarditis following the BNT162b2 vaccine who had abnormal CMR at the time of initial presentation, and underwent follow-up testing. CMR assessment included left ventricular (LV) ejection fraction, T2-weighted myocardial imaging, LV global native T1, LV global T2, extracellular volume (ECV), and late gadolinium enhancement (LGE). Ten patients (9 male, median age 15 years) with vaccine-associated myocarditis underwent follow-up CMR at a median of 92 days (range 76-119) after hospital discharge. LGE was persistent in 80% of patients, though improved from prior in all cases. Two patients (20%) had abnormal LV global T1 at presentation, which normalized on follow-up. ECV decreased between acute presentation and follow-up in 6/10 patients; it remained elevated at follow-up in 1 patient and borderline in 3 patients.</p><p><strong>Conclusion: </strong>CMR performed ~3 months after admission for COVID-19 vaccine-associated myocarditis showed improvement of LGE in all patients, but persistent in the majority. Follow-up CMR 6-12 months after acute episode should be considered to better understand the long-term cardiac risks.</p><p><strong>What is known: </strong>• Myocarditis is a rare side effect of COVID-19 mRNA vaccine. •Late gadolinium enhancement is present on most cardiac magnetic resonance at the time of acute presentation.</p><p><strong>What is new: </strong>•Late gadolinium enhancement improved on all repeat cardiac magnetic resonance at 3-month follow-up. •Most patients still had a small amount of late gadolinium enhancement, the clinical significance of which is yet to be determined.</p>","PeriodicalId":45831,"journal":{"name":"SUB-STANCE","volume":"4 1","pages":"2879-2883"},"PeriodicalIF":3.6,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9046711/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91020869","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:The 87,000 metric tons of non-biodegradable plastic bits gathering in the Great Pacific Garbage Patch occupy the very zones known in the Age of Sail as the doldrums—the “dead calm,” where ships would be stranded for weeks at a time, as famously described in Coleridge’s Rime of the Ancient Mariner, some of Melville’s writings and Lévi-Strauss’s Tristes Tropiques. To re-read these texts today is to have the haunting experience of seeing petrochemical debris collect silently, as if retroactively, in the very doldrums that fossil-fuel-powered speed was believed to have transcended.
{"title":"In the Doldrums: Plastic, Haunting and the Sea","authors":"Thangam Ravindranathan, A. Traisnel","doi":"10.1353/sub.2022.0001","DOIUrl":"https://doi.org/10.1353/sub.2022.0001","url":null,"abstract":"Abstract:The 87,000 metric tons of non-biodegradable plastic bits gathering in the Great Pacific Garbage Patch occupy the very zones known in the Age of Sail as the doldrums—the “dead calm,” where ships would be stranded for weeks at a time, as famously described in Coleridge’s Rime of the Ancient Mariner, some of Melville’s writings and Lévi-Strauss’s Tristes Tropiques. To re-read these texts today is to have the haunting experience of seeing petrochemical debris collect silently, as if retroactively, in the very doldrums that fossil-fuel-powered speed was believed to have transcended.","PeriodicalId":45831,"journal":{"name":"SUB-STANCE","volume":"51 1","pages":"29 - 8"},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41594092","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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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