Abstract:As Giorgio Agamben brings his Homo Sacer project to a close in L'Uso dei corpi (The Use of Bodies), he pitches the slave as paradigm of the human, his archaeology of slavery hinging on select turns of phrase in Aristotle and Paul the Apostle. An assessment of Agamben's argument thus requires close attention to his signature philological moves, an exegesis of his exegeses. Professing to find the archaic nucleus of slavery, the truth of use, in a zone of indifference, Agamben conjures a slave without slavery, an exemplar of inoperativity and a common use of bodies. I offer critiques both of his method of philosophical archaeology and of his anthropology, raising questions about the tension between domination and mutual use, about the limits power imposes on potentiality, and about the paradoxical privilege implied by indifference to freedom. Intent on what he characterizes as the messianic vocation of the slave, Agamben is unable to see that the slave is always more than a slave, or, as one might say in Greek, hyper doulon.
{"title":"On Agamben's Slave without Slavery","authors":"J. Glancy","doi":"10.1353/dia.2020.0027","DOIUrl":"https://doi.org/10.1353/dia.2020.0027","url":null,"abstract":"Abstract:As Giorgio Agamben brings his Homo Sacer project to a close in L'Uso dei corpi (The Use of Bodies), he pitches the slave as paradigm of the human, his archaeology of slavery hinging on select turns of phrase in Aristotle and Paul the Apostle. An assessment of Agamben's argument thus requires close attention to his signature philological moves, an exegesis of his exegeses. Professing to find the archaic nucleus of slavery, the truth of use, in a zone of indifference, Agamben conjures a slave without slavery, an exemplar of inoperativity and a common use of bodies. I offer critiques both of his method of philosophical archaeology and of his anthropology, raising questions about the tension between domination and mutual use, about the limits power imposes on potentiality, and about the paradoxical privilege implied by indifference to freedom. Intent on what he characterizes as the messianic vocation of the slave, Agamben is unable to see that the slave is always more than a slave, or, as one might say in Greek, hyper doulon.","PeriodicalId":46840,"journal":{"name":"DIACRITICS-A REVIEW OF CONTEMPORARY CRITICISM","volume":"48 1","pages":"27 - 4"},"PeriodicalIF":0.1,"publicationDate":"2022-01-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46022012","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":"Colonial Metaphor, Colonial Metaphysics: On the Poetic Pairing of Blackness and Indianness","authors":"C. Infante","doi":"10.1353/dia.2022.0002","DOIUrl":"https://doi.org/10.1353/dia.2022.0002","url":null,"abstract":"","PeriodicalId":46840,"journal":{"name":"DIACRITICS-A REVIEW OF CONTEMPORARY CRITICISM","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67062529","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":"A Tropics of Estrangement: Ghurba in Four Scenes","authors":"A. Eldridge, B. Iqbal","doi":"10.1353/dia.2022.0004","DOIUrl":"https://doi.org/10.1353/dia.2022.0004","url":null,"abstract":"","PeriodicalId":46840,"journal":{"name":"DIACRITICS-A REVIEW OF CONTEMPORARY CRITICISM","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67062248","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":"Lyric Geology: Anthropomorphosis, White Supremacy, and Genres of the Human","authors":"Devin M. Garofalo","doi":"10.1353/dia.2022.0001","DOIUrl":"https://doi.org/10.1353/dia.2022.0001","url":null,"abstract":"","PeriodicalId":46840,"journal":{"name":"DIACRITICS-A REVIEW OF CONTEMPORARY CRITICISM","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67062476","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:Citational practices have relied on a fiction of ownership, by which ideas can be said to belong to those scholars who wrote them down, then are borrowed by others who cite their writings. But this fiction is unsustainable under conditions of racialized and gendered precarity in the academic profession. Ursula K. Le Guin's novel The Dispossessed: An Ambiguous Utopia, when read idiosyncratically as a campus novel, provides an allegory for contemporary conditions in academia, while inviting the possibility that scholarly citation must accommodate non-scholarly or para-academic ideas, even at the risk of its displacement.
摘要:引用实践依赖于一种所有权的虚构，通过这种虚构，思想可以说属于那些写下它们的学者，然后被引用他们作品的其他人借用。但在学术职业的种族化和性别不稳定的条件下，这种小说是不可持续的。厄休拉·勒奎恩(Ursula K. Le Guin)的小说《被剥夺者:一个模棱两可的乌托邦》(The Dispossessed: An Ambiguous Utopia)作为一部校园小说被特殊地阅读时，为当代学术界的状况提供了一个寓言，同时提出了学术引用必须容纳非学术或准学术思想的可能性，即使冒着被取代的风险。
{"title":"Dispossessed Citation and Mutual Aid","authors":"Matt Tierney","doi":"10.1353/dia.2020.0021","DOIUrl":"https://doi.org/10.1353/dia.2020.0021","url":null,"abstract":"Abstract:Citational practices have relied on a fiction of ownership, by which ideas can be said to belong to those scholars who wrote them down, then are borrowed by others who cite their writings. But this fiction is unsustainable under conditions of racialized and gendered precarity in the academic profession. Ursula K. Le Guin's novel The Dispossessed: An Ambiguous Utopia, when read idiosyncratically as a campus novel, provides an allegory for contemporary conditions in academia, while inviting the possibility that scholarly citation must accommodate non-scholarly or para-academic ideas, even at the risk of its displacement.","PeriodicalId":46840,"journal":{"name":"DIACRITICS-A REVIEW OF CONTEMPORARY CRITICISM","volume":"48 1","pages":"115 - 94"},"PeriodicalIF":0.1,"publicationDate":"2021-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42459673","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:My conversation with Annabel Kim, editor of this special issue of Diacritics , about my contribution to the journal influenced my understanding of how citation might apply to a process of making, and specifically my process of making. She spoke of citation as a form of relation. This phrase began to evoke for me a constellation of people, experiences, conversations, and texts that I would and could cite in relation to how I work, what I make, how I think. "Form of relation" speaks to the formal and the social simultaneously, the formal relations on the surface of a painting and the social relations in space and time—the many influences that yield a production of knowledge and understanding. I was left wondering about how painters, or visual artists more broadly, make their influences visible, to whom they are visible, and if there are other ways to do so. What follows is a brief foray into a constellation of relations, a series of incomplete citations that I hope will illuminate some of the ways in which my making is indebted to others whom I cannot cite directly in my work.
{"title":"Making the Present","authors":"Beverly Acha","doi":"10.1353/dia.2020.0023","DOIUrl":"https://doi.org/10.1353/dia.2020.0023","url":null,"abstract":"Abstract:My conversation with Annabel Kim, editor of this special issue of Diacritics , about my contribution to the journal influenced my understanding of how citation might apply to a process of making, and specifically my process of making. She spoke of citation as a form of relation. This phrase began to evoke for me a constellation of people, experiences, conversations, and texts that I would and could cite in relation to how I work, what I make, how I think. \"Form of relation\" speaks to the formal and the social simultaneously, the formal relations on the surface of a painting and the social relations in space and time—the many influences that yield a production of knowledge and understanding. I was left wondering about how painters, or visual artists more broadly, make their influences visible, to whom they are visible, and if there are other ways to do so. What follows is a brief foray into a constellation of relations, a series of incomplete citations that I hope will illuminate some of the ways in which my making is indebted to others whom I cannot cite directly in my work.","PeriodicalId":46840,"journal":{"name":"DIACRITICS-A REVIEW OF CONTEMPORARY CRITICISM","volume":"48 1","pages":"130 - 136"},"PeriodicalIF":0.1,"publicationDate":"2021-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45321443","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:What is produced by the invisibility of Asian American lesbian feminism? This article centers the work of contemporary Asian American lesbian feminist writer Merle Woo to ask: What is disciplined and normalized when "Asian" and "American" and "lesbian" and "feminist" cannot be held and thought as mutually embodied knowledges and practices? How does an insistent isolation of Asian racial discourse from relevant studies of gender, sexuality, imperialism, militarism, and other analytics of power in fact serve a white capitalist, colonial racial order? The article engages the writing of women of color feminist thinkers including Dana Takagi and Sara Ahmed to consider the ephemeral presence of Asian American lesbian feminist forms in Woo's poetry, journalism, and her epistolary essay "Letter to Ma" in the pivotal anthology This Bridge Called My Back. By citing women of color feminist work, including that of Asian American lesbian feminists, the page becomes a stage for fleeting collectivity.
{"title":"Whither Asian American Lesbian Feminist Thought?","authors":"Vivian L. Huang","doi":"10.1353/dia.2020.0018","DOIUrl":"https://doi.org/10.1353/dia.2020.0018","url":null,"abstract":"Abstract:What is produced by the invisibility of Asian American lesbian feminism? This article centers the work of contemporary Asian American lesbian feminist writer Merle Woo to ask: What is disciplined and normalized when \"Asian\" and \"American\" and \"lesbian\" and \"feminist\" cannot be held and thought as mutually embodied knowledges and practices? How does an insistent isolation of Asian racial discourse from relevant studies of gender, sexuality, imperialism, militarism, and other analytics of power in fact serve a white capitalist, colonial racial order? The article engages the writing of women of color feminist thinkers including Dana Takagi and Sara Ahmed to consider the ephemeral presence of Asian American lesbian feminist forms in Woo's poetry, journalism, and her epistolary essay \"Letter to Ma\" in the pivotal anthology This Bridge Called My Back. By citing women of color feminist work, including that of Asian American lesbian feminists, the page becomes a stage for fleeting collectivity.","PeriodicalId":46840,"journal":{"name":"DIACRITICS-A REVIEW OF CONTEMPORARY CRITICISM","volume":"48 1","pages":"40 - 58"},"PeriodicalIF":0.1,"publicationDate":"2021-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41804457","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:The subjugation of Black lives and their violent disavowal in the archives, from incident reports to grand juries and press conferences, lay bare the lingering consequences of archival power (the archive as authority) and white supremacy. Citation from such documents is revealed as a form of terror. We must recognize our power in resisting this violence. We must also refuse rhetorical and archival violence and the state's power to control the official story. This essay considers the archives of slavery, their afterlives, and the future archives of Black death to track the technologies that colonial and state authorities deploy to obscure their culpability in Black deaths. It thinks about the "politics of citation" not necessarily as an erasure and occlusion of scholarship, but in the context of history as a discipline and the humanities at large, which use the archive as a continued site of authority and reproduce its violence.
{"title":"\"Attending To Black Death:\" Black Women's Bodies in the Archive and the Afterlife of Captivity","authors":"Marisa J. Fuentes","doi":"10.1353/dia.2020.0022","DOIUrl":"https://doi.org/10.1353/dia.2020.0022","url":null,"abstract":"Abstract:The subjugation of Black lives and their violent disavowal in the archives, from incident reports to grand juries and press conferences, lay bare the lingering consequences of archival power (the archive as authority) and white supremacy. Citation from such documents is revealed as a form of terror. We must recognize our power in resisting this violence. We must also refuse rhetorical and archival violence and the state's power to control the official story. This essay considers the archives of slavery, their afterlives, and the future archives of Black death to track the technologies that colonial and state authorities deploy to obscure their culpability in Black deaths. It thinks about the \"politics of citation\" not necessarily as an erasure and occlusion of scholarship, but in the context of history as a discipline and the humanities at large, which use the archive as a continued site of authority and reproduce its violence.","PeriodicalId":46840,"journal":{"name":"DIACRITICS-A REVIEW OF CONTEMPORARY CRITICISM","volume":"48 1","pages":"116 - 129"},"PeriodicalIF":0.1,"publicationDate":"2021-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47270444","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}
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