Pub Date : 2023-06-29DOI: 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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Pub Date : 2023-06-29DOI: 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.
{"title":"Heidegger Today? Conversations on the Contemporaneity of a Thinking Legacy","authors":"Pedro R. Erber, F. Vega","doi":"10.1353/dia.2022.a900897","DOIUrl":"https://doi.org/10.1353/dia.2022.a900897","url":null,"abstract":"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.","PeriodicalId":46840,"journal":{"name":"DIACRITICS-A REVIEW OF CONTEMPORARY CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45623304","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-29DOI: 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.
{"title":"Images","authors":"Lee Ufan","doi":"10.1353/dia.2022.a900911","DOIUrl":"https://doi.org/10.1353/dia.2022.a900911","url":null,"abstract":"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.","PeriodicalId":46840,"journal":{"name":"DIACRITICS-A REVIEW OF CONTEMPORARY CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46660150","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Why Heidegger in Dark Times Like Ours? An Interview with Marcia Sá Cavalcante Schuback","authors":"Pedro R. Erber, F. Vega, M. Schuback","doi":"10.1353/dia.2022.a900903","DOIUrl":"https://doi.org/10.1353/dia.2022.a900903","url":null,"abstract":"Abstract:Pedro Erber and Facundo Vega speak with Marcia Sá Cavalcante Schuback about Heidegger's influence on philosophy in Brazil and beyond.","PeriodicalId":46840,"journal":{"name":"DIACRITICS-A REVIEW OF CONTEMPORARY CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47211700","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-29DOI: 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.
{"title":"Crossroads in the Flesh: An Interview with Mariana Ortega","authors":"Jessica S. Elkayam, M. Ortega","doi":"10.1353/dia.2022.a900905","DOIUrl":"https://doi.org/10.1353/dia.2022.a900905","url":null,"abstract":"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.","PeriodicalId":46840,"journal":{"name":"DIACRITICS-A REVIEW OF CONTEMPORARY CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43446660","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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.
{"title":"Barbara Cassin: Sophistical Reading","authors":"Paul Earlie, Devin M. Garofalo, C. Infante, A. Moser, A. Eldridge, B. Iqbal, S. Murphy","doi":"10.1353/dia.2022.0000","DOIUrl":"https://doi.org/10.1353/dia.2022.0000","url":null,"abstract":"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.","PeriodicalId":46840,"journal":{"name":"DIACRITICS-A REVIEW OF CONTEMPORARY CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46743337","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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.
{"title":"Introduction: Black Resistance","authors":"Linette Park","doi":"10.1353/dia.2021.0031","DOIUrl":"https://doi.org/10.1353/dia.2021.0031","url":null,"abstract":"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.","PeriodicalId":46840,"journal":{"name":"DIACRITICS-A REVIEW OF CONTEMPORARY CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-01-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48599631","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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.
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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
{"title":"Images","authors":"Lynette Yiadom-Boakye","doi":"10.1353/dia.2021.0037","DOIUrl":"https://doi.org/10.1353/dia.2021.0037","url":null,"abstract":"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","PeriodicalId":46840,"journal":{"name":"DIACRITICS-A REVIEW OF CONTEMPORARY CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-01-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46275958","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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).
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