Pub Date : 2022-02-01DOI: 10.1215/01903659-9615403
H. Frank
In the 1920s and 1930s, filmmakers in Germany, the Soviet Union, and the United States created synthetic sounds by printing photographic or drawn patterns directly onto a filmstrip's optical soundtrack. This essay examines these practices alongside the radical film theories of Dziga Vertov and Jean Epstein in order to test the limits of sonic epistemology—and, ultimately, to imagine what it might mean to conceive of synthetic sound as documentary sound.
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Pub Date : 2022-02-01DOI: 10.1215/01903659-9615473
Laura-Zoë Humphreys
Following the 1959 revolution, the Cuban state nationalized media outlets on the island and has controlled them ever since. Since 2010, however, this monopoly has been threatened by the paquete (package), one terabyte of pirated digital media collected by independent Cuban entrepreneurs and circulated through informal distribution networks across the island using flash drives and hard drives. Combining archival and textual analysis with ethnographic research, this article analyzes how the legacy of state socialism gave distinctive shape to experiences and perceptions of digital media piracy. I show how the state's history of contravening international copyright provided justification for piracy and how cultural producers and consumers worked to reconcile revolutionary aspirations for socialist art with the influx of global entertainment and the rise of new forms of local cultural production, especially advertising, enabled by the paquete. In so doing, this research challenges media archaeology's Euro-American focus and shows how alternate media histories can lead to different understandings of key questions in media studies, including the links between copyright, entertainment, and modernity.
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Pub Date : 2022-02-01DOI: 10.1215/01903659-9615487
Jason McGrath
In Chinese performance arts, one thing that was largely abandoned in the shift from traditional drama to motion pictures was the suppositionality of Chinese operatic performance, and the transition to digital cinema, particularly in the case of big-budget blockbusters that compete for mass audiences in greater China as well as abroad, raises the question of if and how an aesthetic of suppositionality is related to the emerging virtual realism enabled by computer-generated imagery (CGI). The concept of suppositionality not only helps us to evaluate how contemporary Chinese animation and CGI blockbusters remediate premodern cultural narratives but also provides an analytical measure for approaching the growing phenomenon of motion capture and composited performances. The “virtual realism” of CGI frees Chinese filmmakers to reject the ontological realism of photography and instead favor an aggressively animated style of visual effects while returning actors to a reprise of the suppositional performance style of traditional opera.
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Pub Date : 2022-02-01DOI: 10.1215/01903659-9615375
Daniel Morgan
The introduction to this special issue traces the interactions between the rise of media archaeology and the field of cinema and media studies. Arguing that media archaeology provided a necessary corrective around the question of media, I aim to show how its focus on historical narratives—especially on models of temporality—has led to a critical stagnation and a blind spot with regard to non-Western media. Drawing on the resources in film studies for thinking about the trans- or international movement of media, I set out the need for and terms of a globalizing media archaeology.
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Pub Date : 2021-11-01DOI: 10.1215/01903659-9382088
Charles Bernstein
Li Zhimin, poet and professor at Guangzhou University, asked Charles Bernstein to write the introduction to his anthology of American poetry, which spanned from Dickinson to Stevens, with Bernstein the youngest poet in the collection. Published here in English for the first time.
{"title":"Introduction to Chinese Anthology of American Poetry (19th–20th c.), ed. Li Zhimin","authors":"Charles Bernstein","doi":"10.1215/01903659-9382088","DOIUrl":"https://doi.org/10.1215/01903659-9382088","url":null,"abstract":"\u0000 Li Zhimin, poet and professor at Guangzhou University, asked Charles Bernstein to write the introduction to his anthology of American poetry, which spanned from Dickinson to Stevens, with Bernstein the youngest poet in the collection. Published here in English for the first time.","PeriodicalId":46332,"journal":{"name":"Boundary 2-An International Journal of Literature and Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43271876","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 : 2021-11-01DOI: 10.1215/01903659-9382032
L. Ballerini
A survey of the ingredients and paratextual elements that converged in Charles Bernstein's “Gertrude and Ludwig's Bogus Adventure,” occasioned by the translation of the poem into Italian. Historical hints and literary echoes are shown to be not merely juxtaposed but intertwined with trivia drawn from B Hollywood movies and accounting for the title itself of the poem. As the making of meaning, especially in the second part of the text, is driven by phonetic equivalences rather than by referential affinities, readers are alerted that ontophony has been chosen as a modus operandi over any attempt at contentual re-creation. The alliterative deployment of the letter p, for instance, has been retained, though this has caused the scene of the poem to transfer from a baseball park to a painter's studio. A suggestion is also put forward that in Bernstein's poetry, the step-by-step logic of Wittgenstein's Tractatus can be made to dialogue with Gertrude Stein's obsessive brushstroke writing.
对查尔斯·伯恩斯坦(Charles Bernstein)的《格特鲁德和路德维希的虚假冒险》(Gertrude and Ludwig’s Bogus Adventure)中汇集的成分和副文本元素的调查，这首诗被翻译成意大利语。历史暗示和文学呼应不仅并列，而且与好莱坞B级电影中的琐事交织在一起，并解释了这首诗的标题本身。由于意义的产生，特别是在文本的第二部分，是由语音对等而不是指称亲和驱动的，读者被提醒，声位法已经被选择为一种操作方式，而不是任何内容再创造的尝试。例如，字母p的头韵部署被保留了下来，尽管这使得这首诗的场景从一个棒球公园转移到了一个画家的工作室。并提出在伯恩斯坦的诗歌中，维特根斯坦的《论》的按部就班的逻辑可以与格特鲁德·斯坦的强迫性笔触写作进行对话。
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Pub Date : 2021-11-01DOI: 10.1215/01903659-9382314
B. Stefans
Focusing on two key themes, or vectors, of Charles Bernstein's latest book of poetry, Topsy-Turvy, that of brokenness and the various references to “God” or religious belief, this review argues that there is a new metaphysical dimension in Bernstein's recent poetry that moves beyond his poetry's earlier emphases on the purely interpersonal and material nature of language and its uses. Through a discussion of Bernstein's concept of the never-attained “virtual” in his essay “Poetics of the Americas” and philosopher Gilles Deleuze's concept of the “virtual,” I argue that we can discern something like a “transcendental” aspect in Bernstein's poetry and philosophy, but not one that points to a God, a realm of ideals, or toward a telos, but something that exists now—a very real, but not yet actual, potential. As opposed to the merely “possible,” this potentiality allows for the truly novel to appear, either in poetry or the world itself.
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Pub Date : 2021-11-01DOI: 10.1215/01903659-9382257
Ariel Resnikoff
The present essay contextualizes the poet, scholar, editor, and translator Charles Bernstein (b. 1950), as an artist and practitioner working within a speculative translingual (language-crossing) field and tradition of expanded Yiddish. Reading Bernstein in relation to other expanded-Yiddish figures, such as his elders, Hannah Weiner (1928–77) and Jerome Rothenberg (b. 1931), and ancestor, Walter Benjamin (1892–1940), among others, this essay makes a case for Bernstein as a writer who works from a position of antinomian Jewish translational originlessness, and a diasporic poetics of “need” (à la Charles Reznikoff), in which every source can be understood as a translation and every translation might be treated as a potential source. The coda of the essay addresses the stakes of Bernstein's praxes from the perspective of widespread modern and contemporary anti-Semitism and Jewish self-hatred and concludes with the first ever translation of Bernstein's poetry into Yiddish proper.
本文将诗人、学者、编辑和翻译家查尔斯·伯恩斯坦（Charles Bernstein，1950年出生）作为一名艺术家和实践者，在扩展的意第绪语的跨语言（语言交叉）领域和传统中工作。本文将伯恩斯坦与其他扩展的意第绪语人物联系起来阅读，如他的长辈汉娜·韦纳（1928-77）和杰罗姆·罗滕贝格（b.1931），以及祖先沃尔特·本杰明（1892-1940）等，这篇文章为伯恩斯坦提供了一个理由，他是一位从反犹太翻译的原始立场和“需要”的散居诗学（àla Charles Reznikoff）的作家，其中每个来源都可以被理解为翻译，并且每个翻译都可以被视为潜在来源。文章的结尾从现代和当代普遍存在的反犹太主义和犹太人的自我仇恨的角度阐述了伯恩斯坦诗歌的利害关系，并以伯恩斯坦诗歌首次被翻译成意第绪语作为结尾。
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Pub Date : 2021-11-01DOI: 10.1215/01903659-9382145
L. Lehto
Leevi Lehto, in a keynote on American poetry presented in China, outlines the challenges and possibilities of Language poetry outside the American context, with specific relation to the meaning of translation.
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Pub Date : 2021-11-01DOI: 10.1215/01903659-9382271
Ian Probstein
The essay explores the work of Charles Bernstein in light of constant renewal. John Ashbery, as one of the brightest representatives of the New York School, and Charles Bernstein, as a representative of the language (L = A = N = G = U = A = G = E), have similar attitudes toward language. They have much in common in terms of poetics: in the rejection of loud phrases, prophetic statements, emotions, confessionalism, and certain self-centeredness. Poetry is a private matter for both. Both have poetics built on the “oddness that stays odd,” as Bernstein himself put it, paraphrasing Pound's “news that stays news.” Both are aimed at renovating the language, and the verses of both are built on fragmentation, collage, moving from one statement to another without preparation. However, in Ashbery, whose poems are surreal, these transitions are smoother, based on an apparent connection, what Bernstein calls “hypotaxis” or “associative parataxis.” In contrast, Bernstein's poetry is built on parataxis; it is “bumpy,” in the poet's own words.
本文从不断更新的角度探讨了查尔斯·伯恩斯坦的作品。约翰·阿什伯里是纽约学派最聪明的代表人物之一，查尔斯·伯恩斯坦是语言的代表人物（L = A. = N = G = U = A. = G = E） ，对语言有着相似的态度。他们在诗学方面有很多共同点：拒绝大声的短语、预言性的陈述、情感、忏悔主义和某种以自我为中心的观点。诗歌是双方的私事。正如伯恩斯坦自己所说，两者的诗学都建立在“保持奇怪的奇怪”之上，转述了庞德的“保持新闻的新闻”。两者都旨在更新语言，两者的诗歌都建立在碎片、拼贴的基础上，在没有准备的情况下从一种陈述转移到另一种陈述。然而，在阿什伯里，他的诗歌是超现实的，这些过渡是更平稳的，基于一种明显的联系，伯恩斯坦称之为“形合”或“联想意合”。相比之下，伯恩斯坦的诗歌是建立在意合之上的；用诗人自己的话说，这是“颠簸的”。
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