Pub Date : 2023-03-04DOI: 10.1080/0969725X.2023.2192068
M. Aleksandrowicz
Abstract This essay explores figurations of death in Lispector’s The Passion According to G.H. and Água Viva. As the other side of life, death in these novels is tied to the work of the unconscious desire that introduces generative rupture to the narrators’ experience of being, thinking, and writing. In making one wander at the limits of thought, language, and being, death also signals the encounter with femininity which leads to the disintegration of the human montage. While in Água Viva the encounter with death unfolds through the instant – as the fleeting yet irreducible nowness – in The Passion it manifests through a gustatory and aural encounter with the mute cockroach and the absent maid’s mural. Along the way, the essay explores the specific savoir coming from death in Lispector’s novels alongside the clinic of psychoanalysis, primarily the recent work of the Freudian School of Quebec that has placed special focus on the links between the death drive and the aesthetic experience. I bring Lispector’s novels into conversation with psychoanalysis to propose that Clarice’s writing – just like the psychoanalytic clinic – fundamentally arises from the desire to uphold the unsayable dimension of death whose creative unfolding enables new modes of being, hearing, and thinking in – and with – the world. Indeed, in Clarice’s novels, to be on the side of writing is to be on the side of death that is both the herald of writing and the ravaging reverberation of the force of writing itself.
{"title":"“To Enter the Core of Death”","authors":"M. Aleksandrowicz","doi":"10.1080/0969725X.2023.2192068","DOIUrl":"https://doi.org/10.1080/0969725X.2023.2192068","url":null,"abstract":"Abstract This essay explores figurations of death in Lispector’s The Passion According to G.H. and Água Viva. As the other side of life, death in these novels is tied to the work of the unconscious desire that introduces generative rupture to the narrators’ experience of being, thinking, and writing. In making one wander at the limits of thought, language, and being, death also signals the encounter with femininity which leads to the disintegration of the human montage. While in Água Viva the encounter with death unfolds through the instant – as the fleeting yet irreducible nowness – in The Passion it manifests through a gustatory and aural encounter with the mute cockroach and the absent maid’s mural. Along the way, the essay explores the specific savoir coming from death in Lispector’s novels alongside the clinic of psychoanalysis, primarily the recent work of the Freudian School of Quebec that has placed special focus on the links between the death drive and the aesthetic experience. I bring Lispector’s novels into conversation with psychoanalysis to propose that Clarice’s writing – just like the psychoanalytic clinic – fundamentally arises from the desire to uphold the unsayable dimension of death whose creative unfolding enables new modes of being, hearing, and thinking in – and with – the world. Indeed, in Clarice’s novels, to be on the side of writing is to be on the side of death that is both the herald of writing and the ravaging reverberation of the force of writing itself.","PeriodicalId":45929,"journal":{"name":"ANGELAKI-JOURNAL OF THE THEORETICAL HUMANITIES","volume":"28 1","pages":"90 - 101"},"PeriodicalIF":0.3,"publicationDate":"2023-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46381640","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-04DOI: 10.1080/0969725X.2023.2192062
Luz Horne, J. Brodie
Abstract This essay explores the place in Clarice Lispector’s literature that seeks to touch a primary ground of the living with a language that exceeds the symbolic in order to read it from an anthropocenic, posthuman, and feminist present. It argues that the story “A menor mulher do mundo” (Laços de família, 1960) takes to an extreme what happens in all of Lispector’s literature at the point that we can find in Macabéa’s character from A hora da estrela (1976), a sort of continuation of the smallest woman in the world. In both – the story and the novel – materiality comes to life and it is associated with a neutral background that goes beyond the difference between the human and the nonhuman, the feminine and the masculine, and that coincides with language, with the word. Both characters are residue and resistance, and operate in the stories in the same way that the word operates in Lispector’s writing. The Deleuzian concept of minor and its continuation on the concept of immanence are therefore read not only as a way to think beyond the species, but also as that which operates by destabilizing the concept of “woman” as a universal. Lispector’s writing, then, allows us to separate contemporary feminisms from an affirmation of the identity of the feminine and the masculine, to take them instead into an order that – regardless of whether embodied in woman – is outside the patriarchal.
摘要本文探讨了Clarice Lispector文学中的一个位置，即试图用一种超越象征的语言来触及生活的主要基础，以便从人类主义、后人类主义和女权主义的当下来解读它。它认为，故事《世界上最小的女人》（Laços de família，1960）将利斯佩克特所有文学作品中发生的事情发挥到了极致，我们可以在《阿荷拉·达·埃斯特雷拉》（1976）中马卡的角色身上找到这一点，这是世界上最小女人的延续。在故事和小说中，物质性都变得鲜活起来，它与一个中性的背景联系在一起，这个背景超越了人类和非人类、女性和男性之间的区别，与语言和单词相吻合。这两个角色都是残余和阻力，在故事中的运作方式与利斯佩克特笔下的单词运作方式相同。因此，德勒兹的未成年人概念及其对内在概念的延续不仅被解读为一种超越物种的思考方式，而且被解读为通过破坏“女性”这一普遍概念的稳定而起作用的方式。因此，利斯佩克特的写作使我们能够将当代女性主义与对女性和男性身份的肯定区分开来，并将其纳入父权制之外的秩序——无论是否体现在女性身上。
{"title":"We are all the Smallest Woman in the World","authors":"Luz Horne, J. Brodie","doi":"10.1080/0969725X.2023.2192062","DOIUrl":"https://doi.org/10.1080/0969725X.2023.2192062","url":null,"abstract":"Abstract This essay explores the place in Clarice Lispector’s literature that seeks to touch a primary ground of the living with a language that exceeds the symbolic in order to read it from an anthropocenic, posthuman, and feminist present. It argues that the story “A menor mulher do mundo” (Laços de família, 1960) takes to an extreme what happens in all of Lispector’s literature at the point that we can find in Macabéa’s character from A hora da estrela (1976), a sort of continuation of the smallest woman in the world. In both – the story and the novel – materiality comes to life and it is associated with a neutral background that goes beyond the difference between the human and the nonhuman, the feminine and the masculine, and that coincides with language, with the word. Both characters are residue and resistance, and operate in the stories in the same way that the word operates in Lispector’s writing. The Deleuzian concept of minor and its continuation on the concept of immanence are therefore read not only as a way to think beyond the species, but also as that which operates by destabilizing the concept of “woman” as a universal. Lispector’s writing, then, allows us to separate contemporary feminisms from an affirmation of the identity of the feminine and the masculine, to take them instead into an order that – regardless of whether embodied in woman – is outside the patriarchal.","PeriodicalId":45929,"journal":{"name":"ANGELAKI-JOURNAL OF THE THEORETICAL HUMANITIES","volume":"28 1","pages":"45 - 56"},"PeriodicalIF":0.3,"publicationDate":"2023-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48587460","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-04DOI: 10.1080/0969725X.2023.2192058
Fernanda Negrete
Abstract This essay explores the sense and embrace of risk in Clarice Lispector’s writing. Beginning with a newspaper contribution from her Crônicas, the essay foregrounds the dimension of repetitive tracing to transmit the notion that the risk of living is ongoing, inescapably, but that there is a possibility of stepping forward to embrace this risk differently. The essay then turns to a scene that captures this gesture well: the scene of a woman bathing in the sea, which Clarice returned to and published several times. This gesture is compared to philosophical considerations of risk in terms of what escapes reason and calls for a different disposition – of faith (Søren Kierkegaard, Blaise Pascal) or ecstasy (Georges Bataille). The essay examines the particular notions of joy and saber that Clarice insists on as the consequence of risk, and it explores different responses to this joy’s discovery in Clarice’s fiction, showing their relation to what psychoanalysis calls “feminine jouissance.” This joy is a human experience that exceeds cultural formatting. Clarice’s writing, I suggest, is traversed by a nomadic voice beyond meaning whose work bears a striking resemblance to that of drawing and the voice in Willy Apollon’s account of Haitian Vodou. I propose that writing in Clarice Lispector is the field of an ethics of risk insofar as it welcomes, upholds, and gives what has been excluded from language.
{"title":"Tracing an Ethics of Risk With Clarice Lispector","authors":"Fernanda Negrete","doi":"10.1080/0969725X.2023.2192058","DOIUrl":"https://doi.org/10.1080/0969725X.2023.2192058","url":null,"abstract":"Abstract This essay explores the sense and embrace of risk in Clarice Lispector’s writing. Beginning with a newspaper contribution from her Crônicas, the essay foregrounds the dimension of repetitive tracing to transmit the notion that the risk of living is ongoing, inescapably, but that there is a possibility of stepping forward to embrace this risk differently. The essay then turns to a scene that captures this gesture well: the scene of a woman bathing in the sea, which Clarice returned to and published several times. This gesture is compared to philosophical considerations of risk in terms of what escapes reason and calls for a different disposition – of faith (Søren Kierkegaard, Blaise Pascal) or ecstasy (Georges Bataille). The essay examines the particular notions of joy and saber that Clarice insists on as the consequence of risk, and it explores different responses to this joy’s discovery in Clarice’s fiction, showing their relation to what psychoanalysis calls “feminine jouissance.” This joy is a human experience that exceeds cultural formatting. Clarice’s writing, I suggest, is traversed by a nomadic voice beyond meaning whose work bears a striking resemblance to that of drawing and the voice in Willy Apollon’s account of Haitian Vodou. I propose that writing in Clarice Lispector is the field of an ethics of risk insofar as it welcomes, upholds, and gives what has been excluded from language.","PeriodicalId":45929,"journal":{"name":"ANGELAKI-JOURNAL OF THE THEORETICAL HUMANITIES","volume":"28 1","pages":"19 - 32"},"PeriodicalIF":0.3,"publicationDate":"2023-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46357170","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-04DOI: 10.1080/0969725X.2023.2192067
I. Goh
Abstract At first glance, Clarice Lispector’s An Apprenticeship or The Book of Pleasures (1969) might read like a regression from her earlier feminist and anti-Hegelian Passion According to G.H. (1964), given the female protagonist Lóri’s deference in large part to the male character Ulisses. I argue in this essay that any suspicion of such a philosophical letdown can be easily dispelled if we attend to Lóri’s attunement to affects and her immersion in them. As will be explicated in this essay, such an affective investment signals, on the one hand, a return to Spinoza’s philosophy, thus suggesting a resistance toward the claim of a Hegelian philosophical system to surpass Spinoza; on the other hand, this investment, which exceeds the parameters of Spinoza’s philosophy as well, allows Lóri to put into practice an affective philosophy that is not only feminist but also nonanthropocentric.
{"title":"Affective Consisting in Lispector’s an apprenticeship or the Book of Pleasures","authors":"I. Goh","doi":"10.1080/0969725X.2023.2192067","DOIUrl":"https://doi.org/10.1080/0969725X.2023.2192067","url":null,"abstract":"Abstract At first glance, Clarice Lispector’s An Apprenticeship or The Book of Pleasures (1969) might read like a regression from her earlier feminist and anti-Hegelian Passion According to G.H. (1964), given the female protagonist Lóri’s deference in large part to the male character Ulisses. I argue in this essay that any suspicion of such a philosophical letdown can be easily dispelled if we attend to Lóri’s attunement to affects and her immersion in them. As will be explicated in this essay, such an affective investment signals, on the one hand, a return to Spinoza’s philosophy, thus suggesting a resistance toward the claim of a Hegelian philosophical system to surpass Spinoza; on the other hand, this investment, which exceeds the parameters of Spinoza’s philosophy as well, allows Lóri to put into practice an affective philosophy that is not only feminist but also nonanthropocentric.","PeriodicalId":45929,"journal":{"name":"ANGELAKI-JOURNAL OF THE THEORETICAL HUMANITIES","volume":"28 1","pages":"79 - 89"},"PeriodicalIF":0.3,"publicationDate":"2023-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44572165","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-04DOI: 10.1080/0969725x.2023.2192055
Fernanda Negrete
{"title":"Philosophy with Clarice Lispector","authors":"Fernanda Negrete","doi":"10.1080/0969725x.2023.2192055","DOIUrl":"https://doi.org/10.1080/0969725x.2023.2192055","url":null,"abstract":"","PeriodicalId":45929,"journal":{"name":"ANGELAKI-JOURNAL OF THE THEORETICAL HUMANITIES","volume":" ","pages":"1 - 2"},"PeriodicalIF":0.3,"publicationDate":"2023-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44583194","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-04DOI: 10.1080/0969725X.2023.2192056
Fernanda Negrete
Clarice Lispector was widely recognized in her country for her modernist fiction and weekly contributions to the newspaper Jornal do Brasil in the late 1960s and early 1970s. Although she wasn’t academically trained as a philosopher, her writing consistently explores problems that concern philosophy too, such as being, time, death, language, embodiment, freedom, action, consciousness, life, and aesthetic feeling. Clarice Lispector’s writing does not offer a conceptual system or even arguments to defend a perspective on these problems. Yet her meditations across genres and over four decades engage remarkably with ontological, ethical, aesthetic, and cosmological questions, featuring a persistent practice of thinking at the limits of language that places writing and reading on the edge of thought, on the threshold of the unthinkable. One could therefore suspect that her work falls within literature, not only given the production of short stories and novels, but more specifically and alongside other modern writers involved in questions of thinking, language, and their limits, as the particular space where this thinking and the limits it interrogates can be tested. However, Clarice – as she is better known in Brazil and increasingly among anglophone readers and commentators – objected to the label of literature to name her writing, insofar as, to her mind, literature referred to an external, institutional perspective, foreign to her lifelong experience of the act of writing (Outros escritos 96). She is concerned instead with the standpoint of experience and of an act, whose only consistency resides within the moment of undergoing the experience and of undertaking the act. And this strange, unstable standpoint, always passing, involves a confrontation with the unprecedented – any definition or predetermined form to grasp it is thus set to fail. An attempt to control this writing act, in the interest of understanding, interpreting, or explicating it, for instance, can easily betray or even miss its efficacy. This, of course, makes the work of giving an account of one’s reading quite challenging. Indeed, Clarice’s writing act beckons the reader, often addressed in the second person in the newspaper contributions but also in the novels – “I must hold this hand of yours” (Passion 10), “you who are reading me” (Água Viva 29, 49) – to join the writing voice on the level of the act, in the
{"title":"Philosophy with Clarice Lispector","authors":"Fernanda Negrete","doi":"10.1080/0969725X.2023.2192056","DOIUrl":"https://doi.org/10.1080/0969725X.2023.2192056","url":null,"abstract":"Clarice Lispector was widely recognized in her country for her modernist fiction and weekly contributions to the newspaper Jornal do Brasil in the late 1960s and early 1970s. Although she wasn’t academically trained as a philosopher, her writing consistently explores problems that concern philosophy too, such as being, time, death, language, embodiment, freedom, action, consciousness, life, and aesthetic feeling. Clarice Lispector’s writing does not offer a conceptual system or even arguments to defend a perspective on these problems. Yet her meditations across genres and over four decades engage remarkably with ontological, ethical, aesthetic, and cosmological questions, featuring a persistent practice of thinking at the limits of language that places writing and reading on the edge of thought, on the threshold of the unthinkable. One could therefore suspect that her work falls within literature, not only given the production of short stories and novels, but more specifically and alongside other modern writers involved in questions of thinking, language, and their limits, as the particular space where this thinking and the limits it interrogates can be tested. However, Clarice – as she is better known in Brazil and increasingly among anglophone readers and commentators – objected to the label of literature to name her writing, insofar as, to her mind, literature referred to an external, institutional perspective, foreign to her lifelong experience of the act of writing (Outros escritos 96). She is concerned instead with the standpoint of experience and of an act, whose only consistency resides within the moment of undergoing the experience and of undertaking the act. And this strange, unstable standpoint, always passing, involves a confrontation with the unprecedented – any definition or predetermined form to grasp it is thus set to fail. An attempt to control this writing act, in the interest of understanding, interpreting, or explicating it, for instance, can easily betray or even miss its efficacy. This, of course, makes the work of giving an account of one’s reading quite challenging. Indeed, Clarice’s writing act beckons the reader, often addressed in the second person in the newspaper contributions but also in the novels – “I must hold this hand of yours” (Passion 10), “you who are reading me” (Água Viva 29, 49) – to join the writing voice on the level of the act, in the","PeriodicalId":45929,"journal":{"name":"ANGELAKI-JOURNAL OF THE THEORETICAL HUMANITIES","volume":"28 1","pages":"3 - 5"},"PeriodicalIF":0.3,"publicationDate":"2023-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41616542","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-04DOI: 10.1080/0969725X.2023.2192064
Rodante van der Waal, Kim Schoof, Aukje van Rooden
Abstract Clarice Lispector has been studied thoroughly against the backdrop of Western ontology and feminism, but she has not often been read in relation to postcolonial theory and Black studies. Yet, their critique of coloniality and the radicality with which they conceive of a different world, can provide a fitting frame for understanding what is at stake in Lispector’s thought. When put in dialogue with the work of Édouard Glissant and Denise Ferreira da Silva, Lispector makes a key contribution to the reconfiguration of the relation between the subject and the world that can be understood as an attempt to, echoing Sylvia Wynter, “unsettle the coloniality of being.” Where Glissant effectuates “creolization” and Silva a “hacking” of the subject, Lispector attempts to transgress our colonial relation to the world through a reconfiguration of fertility. In our study of The Passion According to G.H., supported by fragments from the Chronicles, we show: (1) how the passion of G.H., is the passion of a specifically colonial subject; (2) how fertility is an essential link between subjectivity and coloniality, ensuring an atavistic chain of filiation and hence the continuation of a colonially dominated world; and (3) how Lispector reconfigures fertility as a possibility of being deeply affected by the world, so much so that the colonial subject perishes and the chain of filiation is disrupted. As a consequence, we argue that Lispector’s project must not primarily be understood as ontological or in search of pre-discursivity, but as concerned with the revolutionary question of dismantling the colonial subject and its world in order to open up a potential of life otherwise.
克拉丽斯·利斯佩克特在西方本体论和女性主义的背景下得到了深入的研究，但很少将她与后殖民理论和黑人研究联系起来。然而，他们对殖民主义的批判以及他们对一个不同世界的激进设想，可以为理解利斯佩克托思想的利害关系提供一个合适的框架。当与Édouard Glissant和Denise Ferreira da Silva的作品对话时，利斯佩克特对主体与世界之间关系的重新配置做出了关键贡献，这可以被理解为一种尝试，呼应西尔维娅·温特，“动摇存在的殖民性”。格里桑特实现了“克里奥尔化”，席尔瓦对主题进行了“黑客化”，而利斯佩克特则试图通过对生育能力的重新配置来超越我们与世界的殖民关系。在我们对《激情》的研究中，在《编年史》片段的支持下，我们表明:(1)g.h.的激情如何成为一个特定殖民地主体的激情;(2)生育是主体性和殖民性之间的重要纽带，确保了一种返祖的血缘链，从而延续了一个殖民统治的世界;(3)利斯佩克托如何将生育重新配置为一种被世界深深影响的可能性，以至于殖民地主体灭亡，亲缘关系链被破坏。因此，我们认为，利斯佩克托的计划不能主要被理解为本体论或寻找前话语性，而是关注拆除殖民主体及其世界的革命问题，以便开辟另一种生活的潜力。
{"title":"“When the Egg Breaks, the Chicken Bleeds”","authors":"Rodante van der Waal, Kim Schoof, Aukje van Rooden","doi":"10.1080/0969725X.2023.2192064","DOIUrl":"https://doi.org/10.1080/0969725X.2023.2192064","url":null,"abstract":"Abstract Clarice Lispector has been studied thoroughly against the backdrop of Western ontology and feminism, but she has not often been read in relation to postcolonial theory and Black studies. Yet, their critique of coloniality and the radicality with which they conceive of a different world, can provide a fitting frame for understanding what is at stake in Lispector’s thought. When put in dialogue with the work of Édouard Glissant and Denise Ferreira da Silva, Lispector makes a key contribution to the reconfiguration of the relation between the subject and the world that can be understood as an attempt to, echoing Sylvia Wynter, “unsettle the coloniality of being.” Where Glissant effectuates “creolization” and Silva a “hacking” of the subject, Lispector attempts to transgress our colonial relation to the world through a reconfiguration of fertility. In our study of The Passion According to G.H., supported by fragments from the Chronicles, we show: (1) how the passion of G.H., is the passion of a specifically colonial subject; (2) how fertility is an essential link between subjectivity and coloniality, ensuring an atavistic chain of filiation and hence the continuation of a colonially dominated world; and (3) how Lispector reconfigures fertility as a possibility of being deeply affected by the world, so much so that the colonial subject perishes and the chain of filiation is disrupted. As a consequence, we argue that Lispector’s project must not primarily be understood as ontological or in search of pre-discursivity, but as concerned with the revolutionary question of dismantling the colonial subject and its world in order to open up a potential of life otherwise.","PeriodicalId":45929,"journal":{"name":"ANGELAKI-JOURNAL OF THE THEORETICAL HUMANITIES","volume":"28 1","pages":"57 - 67"},"PeriodicalIF":0.3,"publicationDate":"2023-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44341785","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-04DOI: 10.1080/0969725X.2023.2192072
Paula Marchesini
Abstract Clarice Lispector puts forth nothing less than a complete philosophy of time in her writings, that is, a cohesive philosophical examination of what time is, of its physics and metaphysics, of how humans and animals perceive time, and even an innovative aesthetic theory in which time is the inspiring force giving rise to literary and artistic creation. Her view of time is unique in the Western philosophical canon, offering original solutions to many of time’s classic difficulties. For Lispector, time is pure actuality. Reality is an unwavering present that never stops being, is fully material, and is ceaselessly attentive to itself. The present, matter, and attention form the unquestionable unit of the real and the core of Lispector’s philosophy of time. Supporting this structure is her inventive metaphysics of time, anchored in her notion of the “fourth dimension of the instant-now,” which is given close attention.
{"title":"Clarice Lispector’s Philosophy of Time","authors":"Paula Marchesini","doi":"10.1080/0969725X.2023.2192072","DOIUrl":"https://doi.org/10.1080/0969725X.2023.2192072","url":null,"abstract":"Abstract Clarice Lispector puts forth nothing less than a complete philosophy of time in her writings, that is, a cohesive philosophical examination of what time is, of its physics and metaphysics, of how humans and animals perceive time, and even an innovative aesthetic theory in which time is the inspiring force giving rise to literary and artistic creation. Her view of time is unique in the Western philosophical canon, offering original solutions to many of time’s classic difficulties. For Lispector, time is pure actuality. Reality is an unwavering present that never stops being, is fully material, and is ceaselessly attentive to itself. The present, matter, and attention form the unquestionable unit of the real and the core of Lispector’s philosophy of time. Supporting this structure is her inventive metaphysics of time, anchored in her notion of the “fourth dimension of the instant-now,” which is given close attention.","PeriodicalId":45929,"journal":{"name":"ANGELAKI-JOURNAL OF THE THEORETICAL HUMANITIES","volume":"28 1","pages":"125 - 135"},"PeriodicalIF":0.3,"publicationDate":"2023-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47189525","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-04DOI: 10.1080/0969725x.2023.2192074
{"title":"Notes on the contributors","authors":"","doi":"10.1080/0969725x.2023.2192074","DOIUrl":"https://doi.org/10.1080/0969725x.2023.2192074","url":null,"abstract":"","PeriodicalId":45929,"journal":{"name":"ANGELAKI-JOURNAL OF THE THEORETICAL HUMANITIES","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135184986","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/0969725X.2023.2167783
J.Y.F. Chow, Maite Urcaregui
Abstract By bringing queer ecologies to bear on the blue humanities, this essay promotes a queer hydropoetic investigation that attends to the forms, aesthetics, and politics of pools. Pools are sites of aquatic enjoyment, sport, and revelation that have long been understudied within the blue humanities. We ask whether the promises and failures of swimming in these geographies can provide a queer heuristic in which submersion, immersion, and staying afloat subtend coming out, queer eroticism, and queer of color coalitional politics. Our tripartite examination engages the independent film Saved! (2004), the ecosexual documentary Water Makes Us Wet (2019), and the young adult novel and graphic novel adaptation of Gabby Rivera’s Juliet Takes a Breath (2016/2019 and 2020, respectively). Our analysis of pools, as intimate bodies of water that capture media and literature alike, reorients the blue humanities to consider closer proximities and smaller scales of water’s queer potentiality.
{"title":"JUST KEEP SWIMMING?","authors":"J.Y.F. Chow, Maite Urcaregui","doi":"10.1080/0969725X.2023.2167783","DOIUrl":"https://doi.org/10.1080/0969725X.2023.2167783","url":null,"abstract":"Abstract By bringing queer ecologies to bear on the blue humanities, this essay promotes a queer hydropoetic investigation that attends to the forms, aesthetics, and politics of pools. Pools are sites of aquatic enjoyment, sport, and revelation that have long been understudied within the blue humanities. We ask whether the promises and failures of swimming in these geographies can provide a queer heuristic in which submersion, immersion, and staying afloat subtend coming out, queer eroticism, and queer of color coalitional politics. Our tripartite examination engages the independent film Saved! (2004), the ecosexual documentary Water Makes Us Wet (2019), and the young adult novel and graphic novel adaptation of Gabby Rivera’s Juliet Takes a Breath (2016/2019 and 2020, respectively). Our analysis of pools, as intimate bodies of water that capture media and literature alike, reorients the blue humanities to consider closer proximities and smaller scales of water’s queer potentiality.","PeriodicalId":45929,"journal":{"name":"ANGELAKI-JOURNAL OF THE THEORETICAL HUMANITIES","volume":"28 1","pages":"36 - 52"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59519404","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：