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Beauty Is a Thing of the Past: The Idiom, the Monster, and the Democratic Health of Our Disciplines 美是过去的事:成语、怪物和我们学科的民主健康
4区 社会学 Q2 Arts and Humanities Pub Date : 2020-06-20 DOI: 10.14321/crnewcentrevi.20.1.0185
Paula Cucurella
I will commence by stating “the problem”; my familiarity with it dates back to 2015, when I left the State University of New York at Buffalo to study creative writing at the University of Texas, El Paso, where I currently teach. Coming from an academic field, trained in philosophy and literary theory, I took the word “creative” (this new category that I was in principle authorized to use) as a new symbolic stamp in my writing passport. This diplomatic stamp granted me the right to a certain immunization from the restrictions of tedious quotations, MLA format, and certain creative tolls of having to pay to be published. There is probably no need to say that academic writers also use creativity, and some actively search for a style; they also need images, metaphors, and literary techniques. And insofar as they like having readers, they are concerned with the attractiveness, elegance, and clarity of their writing.
我将以陈述“问题”开始;我对它的熟悉可以追溯到2015年,当时我离开了布法罗的纽约州立大学,前往德克萨斯大学埃尔帕索分校学习创意写作,目前我在那里教书。来自学术领域,受过哲学和文学理论的训练,我把“创造性”这个词(这个我原则上被授权使用的新类别)作为我写作护照上的一个新的象征性印记。这个外交印章赋予了我一定的免疫力,使我免受冗长的引文、MLA格式的限制,以及必须支付出版费用的某些创造性费用。或许不必说,学院派作家也有创造力,有些人积极寻找一种风格;他们还需要形象、隐喻和文学技巧。就他们喜欢读者而言,他们关心的是写作的吸引力、优雅和清晰。
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引用次数: 0
The Verbivocovisual Revolution: Anti-Literature, Affect, Politics, and World Literature in Augusto de Campos 语言视觉革命:奥古斯托·德·坎波斯的反文学、情感、政治和世界文学
4区 社会学 Q2 Arts and Humanities Pub Date : 2020-06-20 DOI: 10.14321/crnewcentrevi.20.1.0147
Adam Joseph Shellhorse
AU G U S T O D E CA M P O S’S C R I T I C A L F O R T U N E H A S B E E N B U R D E N E D B Y A deep-seated uncertainty: is his poetry really poetry or does it constitute a sui generis antipoetry? Moreover, does his project ultimately articulate novel modalities of affect, perception, and language that contest Brazilian antidemocracy and what Carlo Galli has called “technology’s planetary domination” during the global electronic boom (2010, 112)? In short, can we reconceive Campos’s canny drive to stage the contemporary in his prototypes as a means to unsettle North/South world literature paradigms and contribute to global discourse? At a mega retrospective in 2016, Campos underscored fundamental aspects of his endeavor:
一种根深蒂固的不确定性:他的诗到底是真正的诗,还是构成了一种独特的反诗?此外,他的项目是否最终阐明了情感、感知和语言的新模式,以对抗巴西的反民主和卡洛·加利在全球电子繁荣时期所说的“技术的全球统治”(2010,112)?简而言之,我们是否可以重新理解坎波斯在他的原型中展现当代的精明驱动,作为一种扰乱南北世界文学范式并为全球话语做出贡献的手段?在2016年的大型回顾展上,坎波斯强调了他的努力的基本方面:
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引用次数: 1
Reanimating the Domestic Still Life 重振国内静物画
4区 社会学 Q2 Arts and Humanities Pub Date : 2020-06-20 DOI: 10.14321/crnewcentrevi.20.1.0051
Ashley Brock
T H I S A R T I C L E C O N S I D E R S D E S C R I P T I O N S O F V A C A N T I N T E R I O R S I N postdictatorial Southern Cone literature and film as self-reflexive memory work that, in evoking the horrors of political violence in conjunction with ostensibly tranquil domestic scenes, reinscribes the domestic sphere in historical time. Focusing on the work of Patricio Guzmán, Paz Encina, and Juan José Saer, I argue that the practice of describing empty homes serves not only to underscore the absence of their disappeared occupants but also to question the political dimensions of nostalgia. For survivors of the military dictatorships in Chile, Paraguay, and Argentina, the desire to longingly reconstruct a more innocent time and space before politics intruded upon domesticity plays all too easily into the nationalistic nostalgia key to the conservative ideology of these regimes. This article contends that, in film as in literature, the objectivist technique of pausing the narration to reproduce photograph-
T H is A R T I C L E C O N S I D E R S D E S C R I P T I O N S O F V C N T I N T E R I O R S I N postdictatorial南锥文学和电影反映自身内存的工作,在唤起政治暴力的恐怖与表面上宁静的家庭场景,再注册国内领域的历史。专注于Patricio Guzmán、Paz Encina和Juan josssaer的作品,我认为描述空置房屋的做法不仅强调了失踪居住者的缺席,而且还质疑了怀旧的政治维度。对于智利、巴拉圭和阿根廷军事独裁统治的幸存者来说,他们渴望在政治干涉家庭生活之前重建一个更纯真的时空,这很容易成为这些政权保守意识形态的民族主义怀旧之情。本文认为,在电影中,正如在文学中一样,客观主义的暂停叙事再现摄影的技巧
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引用次数: 0
Intersections of Politics, Philosophy, Aesthetics, and Life in Contemporary Chilean Criticism and Art 当代智利批评和艺术中的政治、哲学、美学和生活的交叉点
4区 社会学 Q2 Arts and Humanities Pub Date : 2020-06-20 DOI: 10.14321/crnewcentrevi.20.1.0023
Kate Jenckes
WI L L Y TH A Y E R O P E N S H I S B O O K TE C N O L O G Í A S D E L A C R Í T I C A WITH THE provocative statement that criticism—which connotes critical thought, critique, and theory as well as art—is inevitably related to life: “As though criticism and life always belonged, in each case, to the same band” (2010, 11). Indeed, the figure of life has been a central concern of critical theory, from discussions of the relations between life, history, representation, and power in the work of such thinkers as Heidegger, Benjamin, Foucault, Derrida, Butler, Esposito, and others, to more recent considerations of technological advances in biopower, different configurations of the posthuman, and the unforeseeable extremes of the anthropocene. Such reflections have been
WI L L Y Y TH E R O P E N S H I S B O O K TE C N O L O G I S D E L C R我T C的挑衅声明,批评意味着关键思想,批判,相关理论以及艺术品不可避免地生活:“好像批评和生活永远属于,在每种情况下,相同的乐队”(2010年,11)。事实上,从海德格尔、本雅明、福柯、德里达、巴特勒、埃斯波西托等思想家的作品中对生命、历史、表现和权力之间关系的讨论,到最近对生物权力的技术进步、后人类的不同配置以及人类世不可预见的极端的考虑,生命的形象一直是批判理论的核心关注。这样的思考
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引用次数: 0
The Impotence of Sovereignty: Temporality and Repetition in History 主权的无力:历史的暂时性与重复性
4区 社会学 Q2 Arts and Humanities Pub Date : 2020-06-20 DOI: 10.14321/crnewcentrevi.20.1.0103
P. Dove
TH E H I S T O R Y O F M O D E R N P H I L O S O P H I C A L A N D P O L I T I C A L T H I N K I N G A B O U T sovereignty and the subject is marked by contradiction, the attempted resolutions of which give shape to this history while also tending to soften its rough edges, breaks, and inconsistencies—thereby always threatening to render it as something other than history. One such contradiction inheres to the term subject itself in what are seemingly two distinct modes or meanings: subject as subordinated and beholden to an external authority on the one hand, and subject as the proper agent of self-determination on the other. It is the positionality, the relational “beneathness” designated by the term sub-ject, that allows for these diametrically opposed meanings. The first meaning, subject as subordination, translates the Latin subjectus (lying below), synonymous with subditus or being subjugated to a higher authority. The other meaning, subject as autonomous agent, translates the Latin subjectum (foundation or subject of a proposition), which in turn translates Aristotle’s
TH E H I S T O R Y O F M O D E R N P H I L O S O P H I C L N D P O L我T C L T H N K U I N G B O T主权和主题的矛盾,这使成形历史的企图决议同时趋于软化粗糙的边缘,休息,和inconsistencies-thereby总是威胁要使它比历史上其他的东西。这样的矛盾,在主词本身看来有两种不同的方式或意义:一方面,主词从属于或受惠于一种外在的权威,另一方面,主词是自决权的适当的代理人。正是“主体”一词所指定的位置性、关系性的“下等性”,使得这些截然相反的意义得以存在。第一个意思,subject作为从属,翻译成拉丁语的subjectus(躺在下面),与subditus或被更高的权威所征服同义。另一个意思,主体作为自主的主体,翻译了拉丁语的subjectum(命题的基础或主体),这反过来又翻译了亚里士多德的
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引用次数: 0
Autoimmune Cinema 自身免疫性电影
4区 社会学 Q2 Arts and Humanities Pub Date : 2020-02-07 DOI: 10.14321/crnewcentrevi.19.3.0221
Erin Obodiac
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引用次数: 0
From Bio- to Eco-Deconstruction 从生物解构到生态解构
4区 社会学 Q2 Arts and Humanities Pub Date : 2020-02-07 DOI: 10.14321/crnewcentrevi.19.3.0035
Matthias Fritsch
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引用次数: 0
Signatures of Life: Thinking the Logos of Life After Biodeconstruction 生命的签名:思考生物解构后的生命逻各斯
4区 社会学 Q2 Arts and Humanities Pub Date : 2020-02-07 DOI: 10.14321/crnewcentrevi.19.3.0145
Sorelle Henricus
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引用次数: 0
Auto-Affective and Self-Referential Structure of Life in Derrida 德里达生命的自我情感与自我指涉结构
4区 社会学 Q2 Arts and Humanities Pub Date : 2020-02-07 DOI: 10.14321/crnewcentrevi.19.3.0201
Satoru Yoshimatsu
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引用次数: 0
Knowledge Production and Knowledge of Life 知识生产与生活知识
4区 社会学 Q2 Arts and Humanities Pub Date : 2020-02-07 DOI: 10.14321/crnewcentrevi.19.3.0129
Juan Manuel Garrido Wainer
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引用次数: 0
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