Pub Date : 2022-07-03DOI: 10.1080/13534645.2023.2198751
Kristina Mendicino
...no beginning may be necessary. But cause would be necessary for every beginning of consequence. By definition, writes Aristotle, ‘a beginning is that which is not of necessity after another, but after which something different is brought forth’. Alone, ‘bringing forth’ something ‘different’ translates to the thought that each ‘beginning’ should work as a productive, poetic or ‘efficient’ cause. And even before this sequence will be spelled out in the Poetics, the ‘praxis’ or ‘action’ (pqᾶni1) that makes up the ‘myth’ (lῦho1) of dramatic plot will be said to require a ‘syntax’ (rύrsari1) of ‘pragmatic matters’(pqacl asx ) (1450a 4; 1450b 15) – whose ultimate end is their first and final cause. In poetry as in the praxes of life, that is, ‘the telos is the greatest [component] of all’ (sὸ dὲ sέko1 lέcirso ἁpά sx ) (1450a 24).
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Pub Date : 2022-07-03DOI: 10.1080/13534645.2023.2202469
Jörg Kreienbrock
When does Heimito von Doderer’s novel The Strudlhof Steps (1951) begin? What are its specific ‘techniques of exposition’? In his poetological essay, ‘Grundlagen und Funktion des Romans’ [Function and Fundamentals of the Novel], (1970) Doderer uses musicological terminology to describe his expository technique of opening a narration: ‘Exposition durch Einstreuung und Einbettung; man k€onnte das auch Vorhalte nennen, wie in der Musik, wenn Bestandteile eines neuen Accordes, der sp€ ater erst dem Satz zu Grunde liegen wird, vorweg genommen werden’ [Exposition through interspersion and embedding; one could call it a forefall, like in music, when elements of a new chord are being anticipated that will later ground the movement]. In other words, the novel opens through the processes of what Doderer calls ‘interspersion’ and ‘embedding’, ornamental insertions that, insofar as they anticipate a future event, resemble the musical device of a ‘forefall’. Doderer distinguishes this simultaneously halting and foretelling technique of beginning from what he calls an ‘additive Technik’ [additive method], which, he writes, ‘legt vor den Augen des Lesers in direkt auf ihr Ziel hin sich bewegender Weise die Fundamente; alles tritt nacheinander heran im Flusse der Zeitfolge’ [lays the fundamentals before the reader such that everything moves directly towards its goal; each thing follows the next in the linear flow of time]. Exposition by means of ‘interspersion’ and ‘embedding’ – or, in Doderer’s musical terms, a ‘forefall’ – suspends linear narration by introducing a ‘vorgelegte und heterogene Handlung’ [propounded and heterogeneous action] into the ‘Hauptbett’ [main riverbed] of the plot. This essay investigates Doderer’s technique of exposition and exposure in The Strudlhof Steps and asks what it means for a novel to begin with the ornament of a forefall, keeping its movement at bay.
海米托·冯·多德勒的小说《斯特鲁霍夫台阶》(1951)是什么时候开始的?它具体的“表达技巧”是什么?在他的诗学论文《小说的功能和基础》(Grundlagen und funkfunction des Romans)(1970)中，多德勒使用音乐学术语来描述他开启叙述的解释性技巧:“Exposition durch einstreung und Einbettung;man k - on the das auch Vorhalte nennen, wie in der Musik, wenn Bestandteile eines neuen Accordes, der sp - ater est dem Satz zu Grunde liegen wind, vorweg genommen werden '[通过穿插和嵌入的展示];我们可以把它叫做“预感”，就像在音乐中，当一个新的和弦的元素被预料到时，它将为乐章奠定基础。换句话说，小说通过Doderer所说的“穿插”和“嵌入”的过程展开，装饰性的插入，就它们对未来事件的预测而言，类似于“预感”的音乐装置。Doderer将这种同时停顿和预言的开始技术与他所谓的“加法方法”(additive Technik)区分开来，他写道，“legt vor den Augen des Lesers in直接auf ihr Ziel hin，即weweise die Fundamente;alles tritt nacheinander heran in Flusse der Zeitfolge“将基础摆在读者面前，使一切都直接朝着目标前进;在时间的线性流动中，每件事都紧跟着下一件事。通过“穿插”和“嵌入”的方式进行的叙述——或者，用Doderer的音乐术语来说，是“预感”——通过在情节的“Hauptbett”(主要河床)中引入“vorgelegte und heterogene Handlung”(提出的和异质的行动)来暂停线性叙述。本文研究了多德勒在《斯特鲁德霍夫台阶》中阐述和揭露的技巧，并提出了一个问题，即一部小说以预兆的点缀开始，使其发展停滞不前，这意味着什么。
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Pub Date : 2022-07-03DOI: 10.1080/13534645.2023.2198752
J. Mieszkowski
The first sentence of the first page of the first of the thirteen short prose pieces that make up Samuel Beckett’s Texts for Nothing begins: ‘Suddenly, no, at last, long last, I couldn’t any more, I couldn’t go on’. Texts for Nothing gets going by describing a past inability to continue, but this information is presented only after it is clarified that this incapacity, which is initially said to have beset the speaker in an instant (‘suddenly’), actually took a long time to develop (‘at last, long last’). If ‘suddenly’ heralds an abrupt or unforeseen occurrence, the opening sentence of Texts retracts this sense of haste or surprise before it provides any information about the event in question. The result is that ‘no’, the immediate response to ‘suddenly’, feels more sudden than ‘suddenly’, as if with its second word the text were reflecting on and summarily condemning the appropriateness of its first. Freed from the task of modifying the rest of the sentence, the adverb that starts things off is to be set aside, no longer a functional syntactic or semantic element. In opening with a word that it promptly rejects, Texts alerts us that any and every subsequent word may be no less provisional. Scarcely a few syllables in, the commitment of this prose to its own articulations is already very much in doubt.
塞缪尔·贝克特（Samuel Beckett）的《一无所有的文本》（Texts for Nothing）是十三篇短篇散文中的第一篇，第一页的第一句开头是：“突然，不，终于，终于，我不能再继续了，我不能继续了”。《一无所有》的文本通过描述过去无法继续的情况而开始，但只有在澄清了这种能力（最初据说是在瞬间（“突然”）困扰着演讲者）实际上需要很长时间才能发展（“终于，终于”）之后，才提供了这一信息。如果“突然”预示着一个突然或不可预见的事件，那么Texts的开头一句在提供有关事件的任何信息之前，就收回了这种匆忙或惊讶的感觉。结果是，“不”，即对“突然”的直接回应，感觉比“突然”更突然，就好像文本的第二个词在反思并草率地谴责第一个词的恰当性。从修改句子其余部分的任务中解放出来，开始说话的副词将被搁置一边，不再是一个功能句法或语义元素。在以一个它立即拒绝的词开头时，Texts提醒我们，任何后续的词都可能是临时的。仅仅几个音节，这篇散文对其自身表达的承诺就已经非常令人怀疑了。
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Pub Date : 2022-07-03DOI: 10.1080/13534645.2023.2198747
Dominik Zechner
There is something impossible about writing a first sentence. Any other sentence, even last sentences, have something to build on; they come from somewhere, are continuing something. Whatever precedes them already stipulates their direction. Even if they break off from what comes before, as the anacoluthon would, what’s previously there fundamentally conditions the diversion’s very possibility. Prior to the existence of a sentence there exists another sentence. But is this also true for first sentences? Where exactly do they come from? What prepares their occurrence? What do they have to work with? In what follows, I propose to interrogate the possibility of the first sentence with regard to the constitutive rift between literature, or language in general, on the one hand, and phenomenal reality on the other. My suggestion would be that first sentences have to negotiate this rift in complex ways, which is to say, they need to secure the integrity of their linguistic environment by somehow tearing away the possibility of a literary world from referential reality. First sentences interpolate reality and thus draw a boundary between words and experiential objects and events. I will be expounding this issue by drawing on a series of theoretical takes on the problem of reference and will be arranging these interrogations around a discussion of Don DeLillo’s 2007 novel Falling Man, specifically its first sentence: ‘It was not a street anymore but a world, a time and space of falling ash and near night’.
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Pub Date : 2022-07-03DOI: 10.1080/13534645.2023.2198750
Charles de Roche
The present essay represents an attempt to elucidate certain aspects of Friedrich H € olderlin ’ s early ‘ fatherlandish songs ’ , centred around the frag-mentary hymn Am Quell der Donau from 1801, in the perspective of psycho-analytic theory. I am referring to the theory of a ‘ motherly unconscious ’ , prolonging the psychic life of the mother in the speaking subject, in the version of the Franco-Hungarian psychoanalyst Nicolas Abraham. Establishing a fundamental relation between the process of language acquisition and the psychic relation between mother and child, this theory can be read as a conceptual elaboration of the vernacular term ‘ mother tongue ’ . As I shall argue below, a similar problematic can be found to underlie the conception and elaboration of the texts intended by H € olderlin to launch the cycle of poems named ‘ fatherlandish songs ’ ( Vaterl € andische Ges € ange ). I suggest a psychoanalytic reading of these texts centring around the mythologico-genealogical figures of the divine Father celebrated in the title of the projected cycle on the one hand, Mother Earth or Mother Asia as the addressee of its initial texts on the other. While attention to these figures and their relation is quite established in H € olderlin research, my focus shall be more specifically on the problematic of the speaking subject ’ s claim to an original, initial, foundational speech in relation to the inevitable anteriority of the parental instances evoked within the mythologic content of this speech. 1 The question guiding the reflections of this essay, devoted in the first part to a discussion of Abraham ’ s theory and in the second to a reading of the H € olderlin texts in question, can therefore be put as follows: what is the relation between the poetic task of beginning to sing an original song and the related task of addressing and answering the Mother?
本文试图从心理分析理论的角度来阐释弗里德里希·H·奥尔德林早期“父爱之歌”的某些方面，这些歌曲围绕着1801年的脆弱赞美诗《Am Quell der Donau》展开。我指的是法匈精神分析学家尼古拉斯·亚伯拉罕（Nicolas Abraham）的“母亲无意识”理论，该理论在演讲主题中延长了母亲的心理寿命。这一理论建立了语言习得过程与母子心理关系之间的基本关系，可以理解为对“母语”一词的概念阐述。正如我将在下文中所说，在H€olderlin旨在发起名为“父爱之歌”（Vaterl€andische Ges€ange）的诗歌循环的文本的概念和阐述背后，也可以发现类似的问题。我建议对这些文本进行精神分析解读，一方面围绕着在投影周期的标题中庆祝的神父的神话系谱人物，另一方面作为其初始文本收件人的地球母亲或亚洲母亲。虽然对这些人物及其关系的关注在H€olderlin的研究中已经确立，但我的重点将更具体地放在演讲主体对原始、初始、基础性演讲的主张与这篇演讲的神话内容中引发的父母事例的不可避免的优先性之间的问题上。1因此，指导本文思考的问题，在第一部分中专门讨论亚伯拉罕的理论，在第二部分中专门阅读所讨论的古希腊文本，可以提出如下：开始唱一首原创歌曲的诗歌任务与称呼和回答母亲的相关任务之间有什么关系？
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Pub Date : 2022-07-03DOI: 10.1080/13534645.2023.2198749
Adam R. Rosenthal
In his 1979 essay ‘Living On’, amidst a reading of Blanchot’s ‘The Madness of the Day’, Jacques Derrida proposes that one replaces ‘the question of narrative’ – ‘What is a narrative [r ecit]?’ – with what he calls ‘the demand of narrative’. At stake in such a gesture is the nature of the narrative object itself. Before one could ask after the being of narrative, Derrida here implies, one would have to approach the force, or insistence, of narrative. In other words, before there could be any engagement with the narrative thing, as a form of presence, one would have to consider the exigence of narrative (r ecit), which conditions, but also exceeds, the given surface of the woven text. Narrative – or r ecit – in short, pre-empts every merely frontal interrogation of it. And it is for this reason that it demands that one address first of all its demand:
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Pub Date : 2022-07-03DOI: 10.1080/13534645.2023.2198748
S. Anton
Beginning is hard. It always feels so arbitrary. Things get easier, it’s true, once we’ve begun, for example by simply saying ‘in the beginning’. Yet once we’re on our way, we don’t know where we’re going. Having begun, we need a destination, an end, to finish beginning. Such an end allows it to take place so that it has been. Otherwise, it would be without preterition, imperfect. Without an end, beginning would be paratactic, repetitive – endless.
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Pub Date : 2022-07-03DOI: 10.1080/13534645.2023.2198746
Ian Balfour
Has the text perhaps begun before the beginning? Before what is usually and understandably considered the beginning? Before the opening words of a novel or line of a poem? We would usually think that the book known as Moby-Dick begins with the memorable injunction: ‘Call me Ishmael’. Yet before these words stand some others, most prominently and pertinently Moby-Dick; or The Whale. The equivocation as to what constitutes the real beginning of the work could turn on whether or not the title is considered inside or outside the work, ergon or parergon. G erard Genette considers the title one among other paratexts, one of several thresholds or seuils, as he called them in a book published by none other than Editions du Seuil. Among paratexts such as author’s name, dedication, or epigraph, the title is arguably the most crucial for the interpretation of the work, perhaps the most intimate, the most nearly organic threshold. Most scholars and people generally consider the title to be outside of the work proper but importantly related to it. Yet Genette’s figure of the threshold seems about as good as one can do to characterise this relation. ‘Threshold’ suggests that the title is not simply outside the work but on its cusp, at once inside and outside. And perhaps in some works more than others.
这篇文章是不是在开头之前就开始了?在通常可以理解的开始之前?在一本小说的开头词或一首诗的开头句之前?我们通常会认为，《白鲸记》一书的开头是一句令人难忘的格言:“叫我以实玛利吧”。然而，在这些词之前，还有一些其他的词，最突出和最贴切的是《白鲸》;或者鲸鱼。关于什么构成了作品的真正开端的模棱两可可能取决于标题是否被认为是在作品内部或外部，ergon或parergon。G gerard Genette认为这个标题是其他文本中的一个，是几个门槛或seuils中的一个，正如他在一本由Editions du Seuil出版的书中所说的那样。在诸如作者姓名、献词或题词等文本中，标题可以说是对作品解释最关键的，也许是最亲密的，最接近有机的门槛。大多数学者和人们通常认为标题是在作品之外，但重要的是与作品相关。然而，热内特的阈值似乎是描述这种关系的最好方法。“门槛”表明，标题不仅仅是在作品之外，而是在作品的尖端，既在作品内部，又在作品外部。也许在某些作品中比其他作品更多。
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Pub Date : 2022-07-03DOI: 10.1080/13534645.2023.2198745
Kristina Mendicino, Dominik Zechner
In the spring semester of 1988, German philosopher Peter Sloterdijk was invited to deliver the famous Frankfurter Poetikvorlesungen (Frankfurt lectures in poetics) at the Johann Wolfgang Goethe University in Frankfurt am Main. The topic he chose to explore in the course of the five lectures was that of beginnings: ‘Zur Welt kommen – Zur Sprache kommen’ [coming to the world – coming to language]. The title of the series opens an interesting perspective on the problem of commencement – as it suggests that before we can arrive in order to ‘start something’, there must be a pre-existing context that is going to host our arrival. Otherwise put, we are never the ones ‘starting’ the world – on the contrary, whatever project we might wish to begin, it begins within a context that had already begun and whose beginning was not contingent upon our arrival. Which is to say that whatever beginning is possible is only possible to the extent that something had already begun, that a beginning had been made in the course of which the very field had been opened up within which thenceforth the making of beginnings was possible. Our beginning is feasible only because it transpires in the context of a world within which beginning is, in principle, possible, but whose own beginning is not conditional upon us, our arrival, nor our beginning. If the world is the context that allows for the gesture of beginning, this gesture itself is incapable of inaugurating the world. After all, we are mortals – not world-making divinities; and our beginnings are thus never absolute but derivative and secondary, inscribed within the field of possible beginnings whose own beginning must elude us. The first phrase of Sloterdijk’s title – ‘zur Welt kommen’ – therefore already signals a rift between beginning and beginning: as though a commencement were never just one but multiple. And once the possibility of beginning was begun, a dissemination of beginnings would occur that rendered a conceptual unity of all beginning unthinkable.
1988年春季学期，德国哲学家Peter Sloterdijk应邀在美因河畔法兰克福的约翰·沃尔夫冈·歌德大学发表著名的《法兰克福诗人》（法兰克福诗学讲座）。他在五次演讲中选择探索的主题是开始：“Zur Welt kommen——Zur Sprache kommen”（来到世界——来到语言）。该系列的标题为开始问题打开了一个有趣的视角——因为它表明，在我们到达之前，为了“开始某件事”，必须有一个预先存在的背景来容纳我们的到来。否则，我们永远不是“启动”世界的人——相反，无论我们想启动什么项目，它都是在一个已经开始的背景下开始的，而这个背景的开始并不取决于我们的到来。也就是说，任何可能的开始都只有在某种程度上是可能的，即某件事已经开始，某个开始已经形成，在这个过程中，这个领域已经打开，从那时起，开始是可能的。我们的开始之所以可行，只是因为它发生在一个世界的背景下，在这个世界里，开始原则上是可能的，但它自己的开始并不以我们、我们的到来或我们的开始为条件。如果世界是允许开始姿态的环境，那么这个姿态本身就无法开启世界。毕竟，我们是凡人，而不是造世界的神；因此，我们的开始从来都不是绝对的，而是衍生的和次要的，刻在可能的开始的领域中，而这些可能的开始必须避开我们。因此，Sloterdijk标题的第一句话“zur Welt kommen”已经标志着开始和开始之间的裂痕：就好像开始从来都不仅仅是一个，而是多个。一旦开始的可能性开始了，开始的传播就会发生，这使得所有开始的概念统一变得不可想象。
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Pub Date : 2022-04-03DOI: 10.1080/13534645.2023.2184949
A. Nae
Survival horror is a subgenre of the action-adventure genre whose main game design features were established by Alone in the Dark (Infogrames, 1992) and Resident Evil (Capcom, 1996). Unlike more conventional games that aim to offer players a seamless gameplay experience, survival horror typically features a set of mechanics that enfeeble the playable character and work against the player’s attempt to achieve the game’s ludic goal. Although recent survival horror games feature a more heterogeneous game design and sometimes more powerful playable characters, early survival horror games rarely deviated from the Resident Evil formula. What is interesting about these early games, also referred to as classical survival horror, is that their propensity to defy the dominant game design norms is paralleled on an ideological level where, in keeping with the Gothic tradition, they challenge existing power structures. While on a more explicit level classical survival horror games usually contest patriarchal gender power relations, a deeper insight into the genre will reveal that some games provide a critique of the dominant culture that is more far-reaching. This article argues that the classical survival horror games Silent Hill 2 (Team Silent, 2001) and Silent Hill: Origins (Climax Studios, 2007) convey a postcolonial critique of the colonial assumptions of gameplay in action-adventure games. These games cue players to empathise with the playable characters whose agency in the game worlds they inhabit amounts to the perpetration of colonial violence against entities representing racial otherness. After several hours of gameplay, the games highlight the immorality of the playable character’s deeds and reveal the player’s complicity in colonial violence. This way, they raise awareness with respect to the colonial dimension of gameplay and question the uneasy relationship with perpetration that action games entertain in their subservience to the military-industrial-entertainment complex.
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