Pub Date : 2022-01-01DOI: 10.1525/rep.2022.160.4.90
Louise Hornby
Taking Bruce Nauman’s video installation Contrapposto Studies, I through VII (2015/2016) as its starting point, this essay explores the postural, moral, and political implications of walking’s instability, proposing that the instability of walking underwrites its condition. It builds on the feminist scholarship of Adriana Cavarero to challenge the philosophical assumptions of masculine uprightness and to reveal instead the temporal limits of human balance and the essential threat of the misstep.
{"title":"Walking Badly","authors":"Louise Hornby","doi":"10.1525/rep.2022.160.4.90","DOIUrl":"https://doi.org/10.1525/rep.2022.160.4.90","url":null,"abstract":"Taking Bruce Nauman’s video installation Contrapposto Studies, I through VII (2015/2016) as its starting point, this essay explores the postural, moral, and political implications of walking’s instability, proposing that the instability of walking underwrites its condition. It builds on the feminist scholarship of Adriana Cavarero to challenge the philosophical assumptions of masculine uprightness and to reveal instead the temporal limits of human balance and the essential threat of the misstep.","PeriodicalId":47353,"journal":{"name":"Representations","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66930014","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 : 2022-01-01DOI: 10.1525/rep.2022.159.1.1
Joel Simundich
This article advocates reading for moods, moments in literary texts that draw attention to textual forms conditioning the experiential parameters of narrative. Drawing from Hans Ulrich Gumbrecht’s reception aesthetics, I demonstrate how the normative critical history of Charles Dickens’s 1850 novel David Copperfield is a product of the novel’s delimitation of its horizons of expectation and structuration of contingency. I then link these delimited horizons to the accepted austerity politics of academic labor today.
{"title":"David Copperfield’s Moods","authors":"Joel Simundich","doi":"10.1525/rep.2022.159.1.1","DOIUrl":"https://doi.org/10.1525/rep.2022.159.1.1","url":null,"abstract":"This article advocates reading for moods, moments in literary texts that draw attention to textual forms conditioning the experiential parameters of narrative. Drawing from Hans Ulrich Gumbrecht’s reception aesthetics, I demonstrate how the normative critical history of Charles Dickens’s 1850 novel David Copperfield is a product of the novel’s delimitation of its horizons of expectation and structuration of contingency. I then link these delimited horizons to the accepted austerity politics of academic labor today.","PeriodicalId":47353,"journal":{"name":"Representations","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66929800","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 : 2022-01-01DOI: 10.7723/antiochreview.72.2.0304
D. Sanyal, Mario Telò, D. Young
{"title":"Proximities","authors":"D. Sanyal, Mario Telò, D. Young","doi":"10.7723/antiochreview.72.2.0304","DOIUrl":"https://doi.org/10.7723/antiochreview.72.2.0304","url":null,"abstract":"","PeriodicalId":47353,"journal":{"name":"Representations","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7723/antiochreview.72.2.0304","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71184607","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 : 2022-01-01DOI: 10.1525/rep.2022.159.2.34
Carmen Faye Mathes
Exploring literary forms through radical materialist lenses can animate notions of subjectivity beyond agential autonomy; however, the radical materialist joke is a form that disappoints this transgressive promise in the long eighteenth century by recurring to previously established logics of individuation and, specifically, patrilineal inheritance, in order to ensure humor that resonates. Jokes through and about Lucretius, which are also arch commentaries on women’s inadequate educations, from Aphra Behn, Anne Ingram, and Mary Robinson, reveal a rift between the joke as a potentially democratizing, radical material form and the joke as a boundary-setting exercise.
{"title":"Lucretius Taken Lightly","authors":"Carmen Faye Mathes","doi":"10.1525/rep.2022.159.2.34","DOIUrl":"https://doi.org/10.1525/rep.2022.159.2.34","url":null,"abstract":"Exploring literary forms through radical materialist lenses can animate notions of subjectivity beyond agential autonomy; however, the radical materialist joke is a form that disappoints this transgressive promise in the long eighteenth century by recurring to previously established logics of individuation and, specifically, patrilineal inheritance, in order to ensure humor that resonates. Jokes through and about Lucretius, which are also arch commentaries on women’s inadequate educations, from Aphra Behn, Anne Ingram, and Mary Robinson, reveal a rift between the joke as a potentially democratizing, radical material form and the joke as a boundary-setting exercise.","PeriodicalId":47353,"journal":{"name":"Representations","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66929808","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 : 2022-01-01DOI: 10.1525/rep.2022.160.2.31
Jennifer Yee
Visual interpretation can offer a means of critical exegesis, as demonstrated in this article, which proposes a reading of Charles Baudelaire’s poem “L’Irrémédiable” via a series of original drawings, in a process of reverse ekphrasis. “L’Irrémédiable” is read as both an ekphrastic, antimodern poem exploring a series of old-fashioned emblems and a radical step toward iconicity in which the shape of the poem gives spatial expression to the ironic beacon of self-awareness.
{"title":"Baudelaire’s Ironic Lighthouse","authors":"Jennifer Yee","doi":"10.1525/rep.2022.160.2.31","DOIUrl":"https://doi.org/10.1525/rep.2022.160.2.31","url":null,"abstract":"Visual interpretation can offer a means of critical exegesis, as demonstrated in this article, which proposes a reading of Charles Baudelaire’s poem “L’Irrémédiable” via a series of original drawings, in a process of reverse ekphrasis. “L’Irrémédiable” is read as both an ekphrastic, antimodern poem exploring a series of old-fashioned emblems and a radical step toward iconicity in which the shape of the poem gives spatial expression to the ironic beacon of self-awareness.","PeriodicalId":47353,"journal":{"name":"Representations","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66929964","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 : 2022-01-01DOI: 10.1525/rep.2022.158.5.45
Tavia Nyong’o
{"title":"Opacity, Narration, and “The Fathomless Word”","authors":"Tavia Nyong’o","doi":"10.1525/rep.2022.158.5.45","DOIUrl":"https://doi.org/10.1525/rep.2022.158.5.45","url":null,"abstract":"","PeriodicalId":47353,"journal":{"name":"Representations","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66930217","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 : 2022-01-01DOI: 10.1525/rep.2022.159.5.122
A. Henderson
Victorian chemistry and Victorian political theory are both constructed around a foundational analytic unit: for the former, it is the atom, and for the latter, the individual. Because the latter construct was actually the more robust of the two, Victorian chemists used the resources of art and literature to lend individuality to atoms, while literary writers used chemistry to suggest that the category of the individual might be no more than a fiction of liberal theory.
{"title":"Atomic Individuals","authors":"A. Henderson","doi":"10.1525/rep.2022.159.5.122","DOIUrl":"https://doi.org/10.1525/rep.2022.159.5.122","url":null,"abstract":"Victorian chemistry and Victorian political theory are both constructed around a foundational analytic unit: for the former, it is the atom, and for the latter, the individual. Because the latter construct was actually the more robust of the two, Victorian chemists used the resources of art and literature to lend individuality to atoms, while literary writers used chemistry to suggest that the category of the individual might be no more than a fiction of liberal theory.","PeriodicalId":47353,"journal":{"name":"Representations","volume":"23 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66929882","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 : 2022-01-01DOI: 10.1525/rep.2022.160.3.54
Jill Jarvis
Beginning in 1960, the French military carried out seventeen nuclear bomb detonations at bases constructed for this purpose in what is now the Algerian Sahara. This French imperial “radiance” has left an enduring radiological and epistemological legacy whose effects are not yet known. Grounded by close attention to transmedial works by Elisabeth Leuvrey, Bruno Hadjih, and Ammar Bouras, this essay investigates the critical potential of aesthetic representation for apprehending the slow violence of nuclear imperialism that targets desert lives for destruction.
{"title":"Radiant Matter","authors":"Jill Jarvis","doi":"10.1525/rep.2022.160.3.54","DOIUrl":"https://doi.org/10.1525/rep.2022.160.3.54","url":null,"abstract":"Beginning in 1960, the French military carried out seventeen nuclear bomb detonations at bases constructed for this purpose in what is now the Algerian Sahara. This French imperial “radiance” has left an enduring radiological and epistemological legacy whose effects are not yet known. Grounded by close attention to transmedial works by Elisabeth Leuvrey, Bruno Hadjih, and Ammar Bouras, this essay investigates the critical potential of aesthetic representation for apprehending the slow violence of nuclear imperialism that targets desert lives for destruction.","PeriodicalId":47353,"journal":{"name":"Representations","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66929977","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 : 2022-01-01DOI: 10.1525/rep.2022.157.5.90
Katerina Korola
Focusing on Albert Renger-Patzsch’s photographs of the Zollverein colliery, this essay investigates the tension between the clarity of Renger-Patzsch’s aesthetic and the physical reality of the industrial environment in which he worked. In doing so, it offers an account of New Objectivity photography that is attentive to both the environment from which it emerged and the way in which photography, in turn, acted upon this environment. Placing particular stress on the clear contours and white backgrounds of these photographs, as well as their material and technical prerequisites, it argues that the radical clarity of Renger-Patzsch’s photographs is best regarded as an active intervention into a compromised environment, in which the photographer was called upon to bring forth clarity from the dust and smoke of industrial extraction.
{"title":"The Air of Objectvity","authors":"Katerina Korola","doi":"10.1525/rep.2022.157.5.90","DOIUrl":"https://doi.org/10.1525/rep.2022.157.5.90","url":null,"abstract":"Focusing on Albert Renger-Patzsch’s photographs of the Zollverein colliery, this essay investigates the tension between the clarity of Renger-Patzsch’s aesthetic and the physical reality of the industrial environment in which he worked. In doing so, it offers an account of New Objectivity photography that is attentive to both the environment from which it emerged and the way in which photography, in turn, acted upon this environment. Placing particular stress on the clear contours and white backgrounds of these photographs, as well as their material and technical prerequisites, it argues that the radical clarity of Renger-Patzsch’s photographs is best regarded as an active intervention into a compromised environment, in which the photographer was called upon to bring forth clarity from the dust and smoke of industrial extraction.","PeriodicalId":47353,"journal":{"name":"Representations","volume":"64 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66929985","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}
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