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Heidegger Tonight: A Philosophical Dialogue 《海德格尔今夜:哲学对话
IF 0.1 4区 文学 0 LITERARY THEORY & CRITICISM Pub Date : 2023-06-29 DOI: 10.1353/dia.2022.a900899
Michael Marder, Giovanbattista Tusa

Abstract:

Michael Marder and Giovanbattista Tusa discuss the "today" and "tonight" in Heidegger's thinking and beyond.

摘要:马德与图萨探讨了海德格尔思想中的“今天”与“今晚”及其超越。
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引用次数: 0
Heidegger Today? Conversations on the Contemporaneity of a Thinking Legacy 海德格尔今天好吗?思想遗产的当代性对话
IF 0.1 4区 文学 0 LITERARY THEORY & CRITICISM Pub Date : 2023-06-29 DOI: 10.1353/dia.2022.a900897
Pedro R. Erber, F. Vega
Abstract:For this special issue, consisting entirely of interviews and conversations, we invited scholars whose paths have crossed Heidegger's legacies in various ways to reflect on the endurance and resonances, on the contemporaneity and possible futures of Heidegger's project in today's philosophical and political panorama. As editors, we conducted some of the interviews, individually or together. Other pieces were commissioned, some of them constituting the outcome of conversations between thinkers deeply familiar with each other's work, as student and mentor or as partners in longstanding dialogue. Some of the authors included in this issue nurture a strong sense of indebtedness to Heidegger's work, some take significant distance from his legacy, while others stand in explicit opposition to the Heideggerian project and its afterlives.
摘要:本期特刊完全由访谈和对话组成,我们邀请了一些学者,他们的道路以各种方式跨越了海德格尔的遗产,以反思海德格尔项目在当今哲学和政治全景中的持久性和共鸣,当代性和可能的未来。作为编辑,我们单独或共同进行了一些采访。其他作品是委托创作的,其中一些是作为学生和导师,或作为长期对话的合作伙伴,彼此非常熟悉的思想家之间对话的结果。本期的一些作者对海德格尔的作品有着强烈的负债感,一些人与他的遗产有很大的距离,而另一些人则明确反对海德格尔的项目及其后世。
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引用次数: 0
Why Heidegger in Dark Times Like Ours? An Interview with Marcia Sá Cavalcante Schuback 为什么海德格尔出现在像我们这样的黑暗时代?采访马西娅·斯卡瓦尔坎特·舒巴克
IF 0.1 4区 文学 0 LITERARY THEORY & CRITICISM Pub Date : 2023-06-29 DOI: 10.1353/dia.2022.a900903
Pedro R. Erber, F. Vega, M. Schuback
Abstract:Pedro Erber and Facundo Vega speak with Marcia Sá Cavalcante Schuback about Heidegger's influence on philosophy in Brazil and beyond.
摘要:Pedro Erber和Facundo Vega与Marcia scavalcante Schuback探讨了海德格尔对巴西及其他国家哲学的影响。
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引用次数: 0
Images 图像
IF 0.1 4区 文学 0 LITERARY THEORY & CRITICISM Pub Date : 2023-06-29 DOI: 10.1353/dia.2022.a900911
Lee Ufan
Born in Haman County, Korea, in 1936, Lee Ufan is a leading practitioner and theorist of the Mono-ha School, which emerged in Japan in the 1960s. With his distinct approach and individualistic artistic expression, he has established a unique style of his own that goes beyond such categorization. In his work, Lee leaves areas unmade and produces yohaku (empty spaces and margins), while cutting personal expression to a minimum. This approach draws out the unique tension and stillness of a particular space, a characteristic of his work. Lee lives and works in Paris and Kamakura, Japan. Among many other places, his work is part of the collections at the Centre Pompidou in Paris, the Museum of Modern Art in New York, the Tate Collection in London, the National Museum of Contemporary Art in Seoul, the National Museum of Modern Art in Tokyo, and Queensland Art Gallery in Brisbane.
李宇范1936年出生于韩国哈曼县,是20世纪60年代在日本兴起的莫诺哈派的主要实践者和理论家。他以其独特的方法和个人主义的艺术表达,建立了一种超越这种分类的独特风格。在他的作品中,李留下了未被处理的区域,并产生了yohaku(空白和空白),同时将个人表达降至最低。这种方法展现了特定空间的独特张力和静止,这是他的作品的特点。李在巴黎和日本镰仓生活和工作。在许多其他地方,他的作品是巴黎蓬皮杜中心、纽约现代艺术博物馆、伦敦泰特美术馆、首尔国家当代艺术博物馆、东京国家现代艺术博物馆和布里斯班昆士兰美术馆收藏的一部分。
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引用次数: 0
Crossroads in the Flesh: An Interview with Mariana Ortega 《肉体的十字路口:玛丽安娜·奥尔特加访谈
IF 0.1 4区 文学 0 LITERARY THEORY & CRITICISM Pub Date : 2023-06-29 DOI: 10.1353/dia.2022.a900905
Jessica S. Elkayam, M. Ortega
Abstract:Jessica Elkayam asks Mariana Ortega about the influence both Latina feminisms and Martin Heidegger have had on the development of Ortega's mestiza theory.
摘要:杰西卡·埃尔卡亚姆向玛丽安娜·奥尔特加询问了拉丁女性主义和马丁·海德格尔对奥尔特加的混血儿理论发展的影响。
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引用次数: 0
Barbara Cassin: Sophistical Reading 芭芭拉·卡辛:诡辩式阅读
IF 0.1 4区 文学 0 LITERARY THEORY & CRITICISM Pub Date : 2023-04-03 DOI: 10.1353/dia.2022.0000
Paul Earlie, Devin M. Garofalo, C. Infante, A. Moser, A. Eldridge, B. Iqbal, S. Murphy
Abstract:Although best known to English-speaking readers as the general editor of the Dictionary of Untranslatables, the work of French philologist and philosopher Barbara Cassin is eclectic, encompassing literary studies, ancient philosophy, rhetoric, translation theory, psychoanalysis, politics, and more. From Presocratic philosophy to more recent reflections on Big Tech and democracy, Cassin's work is rooted in "sophistics," an approach that emphasizes the primacy of language in shaping our interactions with the world. Situating this sophistical approach vis-à-vis classical philology (Bollack) and the philosophical tradition (Heidegger, Derrida), this essay explores the contribution of "sophistical reading" to our understanding of philosophical and literary texts. Showing how Cassin uses rhetorical theory to problematize any simple opposition of the latter, the essay concludes with a critical evaluation of Cassin's reading of Helen, Euripides' most sophistical play.
摘要:法国语言学家、哲学家芭芭拉·卡辛以《不可译词典》主编的形象为英语读者所熟知,但她的作品涉广广泛,包括文学研究、古代哲学、修辞学、翻译理论、精神分析学、政治等。从前苏格拉底哲学到最近对大科技和民主的反思,卡辛的作品植根于“诡辩”,一种强调语言在塑造我们与世界互动中的首要地位的方法。本文将这种诡辩的方法与-à-vis古典文献学(博拉克)和哲学传统(海德格尔、德里达)相比较,探讨了“诡辩阅读”对我们理解哲学和文学文本的贡献。这篇文章展示了卡辛如何使用修辞理论来质疑后者的任何简单的反对意见,最后对卡辛对欧里庇德斯最诡辩的戏剧《海伦》的阅读进行了批判性的评价。
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引用次数: 0
Introduction: Black Resistance 简介:黑色抵抗
IF 0.1 4区 文学 0 LITERARY THEORY & CRITICISM Pub Date : 2023-01-07 DOI: 10.1353/dia.2021.0031
Linette Park
Abstract:“Blackness” and “resistance”: two words that often defy what is commonly understood about their conditions, meanings, terms, and articulations. Alone or together, these terms raise a host of questions about the value and limits of their representation, practice, and the traditions that subtend them. At the time of collating this special issue in 2020, what many observed as a “racial reckoning” took place in the U.S., in the form of protests against racialized state-sanctioned violence and black death at the hands of law enforce¬ment. However, as the contributors of this special issue attest to in different ways, the precarity of black life has always and continues to pose a complex historico-political and psychical question concomitant to the gratuity of antiblackness—the long-standing his¬tory and disavowal of antiblackness that prefigure the symbolic semblances of civil soci¬ety, the nation state, art and culture, law, and politics, in the United States and globally.
摘要:“黑”与“反抗”这两个词,在其所处的条件、意义、术语和表达方式上,往往与人们通常的理解相悖。单独或一起,这些术语提出了一系列关于它们的代表、实践和传统的价值和局限性的问题。在2020年整理本期特刊时,许多人观察到美国发生了“种族清算”,其形式是抗议国家批准的种族化暴力和执法部门造成的黑死病。然而,正如本期特刊的撰稿人以不同的方式证明的那样,黑人生活的不稳定性一直并将继续构成一个复杂的历史政治和心理问题,伴随着反黑人的慷慨——在美国和全球范围内,长期存在的反黑人的历史和对反黑人的否认预示着公民社会、民族国家、艺术和文化、法律和政治的象征性表象。
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引用次数: 0
Untranslatability, Resistance 不可翻译性,阻力
IF 0.1 4区 文学 0 LITERARY THEORY & CRITICISM Pub Date : 2023-01-07 DOI: 10.1353/dia.2021.0034
Linette Park
Abstract:Untranslatability and resistance are terms that have a longstanding place in psychoanalytic theory and philosophies of law. But how might these terms labor differently whence their conditions rest on the founding conditions of antiblackness that position blackness as a type of permanent errancy? Pursuing the question on the untranslatability of blackness, antiblackness, and the resistances therein and thereof, the article adumbrates on the strange and estranged forty-year gap between the anti-lynching legislation’s enactment and its first court hearing (1969) as well as its second court hearing (1999)—cases which have translated the statute’s original legislative intent from anti-lynching to “self-lynching.” As the article considers the untranslatability of blackness in the various registers of “resistance” in law, representation, and the psychic economies of antiblackness, it also reflects on how the transience of such translation casts an impossible “self” via a mode of lynching in the juridical imaginary—a type of foreclosure that precedes and operates beyond the orders of de jure and de facto law.
摘要:不可译性和抵抗性是精神分析理论和法律哲学中长期存在的术语。但是这些术语的工作方式会有什么不同,因为它们的条件建立在反黑人的基本条件上,将黑人定位为一种永久的偏差?本文探讨了黑人、反黑人的不可译性问题,以及与之相关的抵抗,并对反私刑立法的颁布与第一次法庭审理(1969年)以及第二次法庭审理(1999年)之间奇怪而疏离的四十年进行了总结,这些案例将该法规最初的立法意图从反私刑转变为“自私刑”。本文在考虑黑人在法律、再现和反黑人的精神经济中各种“抵抗”的不可译性时,也反思了这种翻译的短暂性如何通过司法想象中的私刑模式来塑造一个不可能的“自我”——一种先于并超越法理和事实法命令的止赎。
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引用次数: 0
Images 图像
IF 0.1 4区 文学 0 LITERARY THEORY & CRITICISM Pub Date : 2023-01-07 DOI: 10.1353/dia.2021.0037
Lynette Yiadom-Boakye
Lynette Yiadom-Boakye’s oil paintings focus on fictional figures that exist outside of specific times and places. In an interview with Nadine Rubin Nathan in the New York Times Magazine, Yiadom-Boakye described her compositions as “suggestions of people. . . . They don’t share our concerns or anxieties. They are somewhere else altogether.” This lack of a fixed narrative leaves her work open to the projected imagination of the viewer. Her paintings are rooted in traditional formal considerations such as line, color, and scale, and can be self-reflexive about the medium itself, but the subjects and the way in which the paint is handled is decidedly contemporary. Her predominantly black cast of characters often attracts attention. In an interview with Hans Ulrich Obrist in Kaleidoscope, she explained “People are tempted to politicize the fact that I paint black figures, and the complexity of this is an essential part of the work. But my starting point is always the language of painting itself and how that relates to the subject matter.” Yiadom-Boakye was born in 1977 in London, where she is currently based. She attended Central Saint Martins College of Art and Design, Falmouth College of Arts, and the Royal Academy Schools. She is the 2018 recipient of the Carnegie Prize, awarded for her contribution to the Carnegie International, 57th Edition. She was shortlisted for the 2013 Turner Prize. Yiadom-Boakye has had many important solo museum shows, including an upcoming exhibition that will open at Tate Britain in London in 2020 that will travel to Guggenheim Bilbao, Spain. Most recently, her work was included in the inaugural Ghanaian pavilion at the Venice Biennale, and she had a solo exhibition at the Yale Center for British Art as part of the Hilton Als series. She is included in numerous institutional collections, ranging from the Tate Collection in London to The Museum of Modern Art in New York. Within the past two years, her work has been added to the permanent collections of the Art Gallery Museum of Southern Australia, Adelaide; the Baltimore Museum of Art; the Carnegie Museum of Art, Pittsburgh; the Institute of Contemporary Art, Boston; the Dallas Museum of Art; the Kunstmuseum Basel, Switzerland; the Minneapolis Institute of Art; the Museum of Contemporary Art, Los Angeles; and the Yale Center for British Art, Connecticut. Jack Shainman Gallery has represented Yiadom-Boakye since 2010 when she had her first solo show entitled Essays and Documents. Her most recent show with the gallery was In Lieu of a Louder Love in January 2019. Website: https://jackshainman.com/ artists/lynette_yiadom_boakye
Lynette Yiadom Boakye的油画聚焦于特定时间和地点之外的虚构人物。Yiadom Boakye在《纽约时报》杂志上接受Nadine Rubin Nathan的采访时,将她的作品描述为“人们的建议……他们与我们的担忧或焦虑不一样。他们完全在其他地方。”这种固定叙事的缺乏让她的作品向观众开放。她的绘画植根于传统的形式考虑,如线条、颜色和比例,可以对媒介本身进行自我反射,但主题和处理绘画的方式无疑是当代的。她以黑人为主的角色阵容经常吸引眼球。在《万花筒》杂志上接受汉斯·乌尔里希·奥布里斯特采访时,她解释道:“人们很想把我画黑人人物的事实政治化,而这件事的复杂性是作品的重要组成部分。但我的出发点始终是绘画本身的语言,以及它与主题的关系。”Yiadom Boakye 1977年出生于伦敦,目前居住在伦敦。她曾就读于中央圣艺术与设计学院、法尔茅斯艺术学院和皇家学院。她是2018年卡内基奖的获得者,该奖因她对卡内基国际音乐节第57届的贡献而颁发。她入围了2013年特纳奖的候选名单。Yiadom Boakye举办了许多重要的个人博物馆展览,包括即将于2020年在伦敦泰特英国美术馆开幕的展览,该展览将前往西班牙毕尔巴鄂古根海姆。最近,她的作品被列入威尼斯双年展首届加纳馆,她在耶鲁大学英国艺术中心举办了个展,作为Hilton Als系列的一部分。她被许多机构收藏,从伦敦泰特美术馆到纽约现代艺术博物馆。在过去的两年里,她的作品被阿德莱德南澳大利亚美术馆永久收藏;巴尔的摩艺术博物馆;匹兹堡卡内基艺术博物馆;波士顿当代艺术学院;达拉斯艺术博物馆;瑞士巴塞尔艺术博物馆;明尼阿波利斯艺术学院;洛杉矶当代艺术博物馆;以及康涅狄格州的耶鲁英国艺术中心。Jack Shainman画廊自2010年Yiadom Boakye举办首个名为《随笔与文献》的个展以来一直代表她。她最近一次与画廊合作的展览是2019年1月的《爱的谎言》。网址:https://jackshainman.com/艺术家/lynette_yiadom_boakye
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引用次数: 0
On Revolutionary Suicide 论革命自杀
IF 0.1 4区 文学 0 LITERARY THEORY & CRITICISM Pub Date : 2023-01-07 DOI: 10.1353/dia.2021.0036
David Marriott
Abstract:This essay takes up Huey Newton’s notion of revolutionary suicide. Against the objection that black suicide is merely reactive, Newton proposes that revolutionary suicide follows other principles and demonstrations. Revolutionary suicide is resistant but in ways that does not make it always possible to distinguish between resistance and reaction—in fact, Newton argues that black revolutionary suicide should be considered a life-affirmation, and that this affirmation reveals a will to power in a decidedly Nietzschean sense. This means—if we read suicide as resistant in its reactions—that black affirmation cannot be read on the order of a sovereign decision (as a sacrificial relation to life and death); nor as will, representation, or as a refusal which always relates to an end (the end of oppression, or injustice). This is why, strictly speaking, Newton’s reading of revolutionary suicide is not to be confused with a classical notion of sovereignty (whether that of Bataille or Mbembe), nor with the political definition of self-murder as resistance (by Spivak, or Puar). At the end of this essay, the notion of revolutionary suicide is shown to be something else altogether. That is to say, revolutionary suicide serves not only to realize the form of the one and the multiple (according to a non-messianic and non-sacrificial economy), but also puts into question the presumed inescapable relation between blackness and state murder (due to the relentless nature of necropower and anti-blackness).
摘要:本文论述了休伊·牛顿的革命自杀观。反对黑人自杀仅仅是反应性的反对意见,牛顿提出革命自杀遵循其他原则和论证。革命自杀是有抵抗力的,但并不总是能够区分抵抗和反应——事实上,牛顿认为黑人革命自杀应该被视为对生命的肯定,这种肯定揭示了尼采意义上的权力意志。这意味着——如果我们把自杀解读为其反应具有抵抗力——黑人的肯定不能按照主权决定的顺序解读(作为与生和死的牺牲关系);也不是意志、代表或拒绝,这总是与目的有关(压迫或不公正的结束)。这就是为什么,严格来说,牛顿对革命自杀的解读不应与经典的主权概念(无论是巴塔耶还是姆本贝的主权概念)相混淆,也不应与将自我谋杀定义为抵抗的政治定义(斯皮瓦克或普阿的)相混淆。在这篇文章的最后,革命自杀的概念被证明是另一回事。也就是说,革命自杀不仅有助于实现一和多的形式(根据非救世主和非牺牲的经济),而且也使黑人和国家谋杀之间假定的不可避免的关系受到质疑(由于尸权和反黑人的无情性质)。
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引用次数: 1
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DIACRITICS-A REVIEW OF CONTEMPORARY CRITICISM
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