ABSTRACT:This paper explores the digitized museum in E. M. Forster’s science fiction novella The Machine Stops (1909). Forster replaces the physical space of museums with a digitized platform, complete with information censorship and broadcast through the technological home of humanity, the Machine. In examining Forster’s warning of tasking a machine to manage knowledge, this paper considers the real-life technological progress of digitizing archives and how this current practice is posited as a positive regardless of its causing digital amnesia. By analyzing how early science fiction exposes subjective biases in traditional museum practice, paired with the airbrushing of knowledge through digitized museum platforms, this paper posits that the museum in science fiction challenges views of how knowledge comes to be narrativized and disseminated, with a focus on the digitized museum as a failed memory institution plagued by subjectivity.
{"title":"The Digitized Museum and the Troubling Reliance on Technology to Manage Knowledge in E. M. Forster’s The Machine Stops","authors":"Grace Anne Paizen","doi":"10.1353/con.2022.0024","DOIUrl":"https://doi.org/10.1353/con.2022.0024","url":null,"abstract":"ABSTRACT:This paper explores the digitized museum in E. M. Forster’s science fiction novella The Machine Stops (1909). Forster replaces the physical space of museums with a digitized platform, complete with information censorship and broadcast through the technological home of humanity, the Machine. In examining Forster’s warning of tasking a machine to manage knowledge, this paper considers the real-life technological progress of digitizing archives and how this current practice is posited as a positive regardless of its causing digital amnesia. By analyzing how early science fiction exposes subjective biases in traditional museum practice, paired with the airbrushing of knowledge through digitized museum platforms, this paper posits that the museum in science fiction challenges views of how knowledge comes to be narrativized and disseminated, with a focus on the digitized museum as a failed memory institution plagued by subjectivity.","PeriodicalId":55630,"journal":{"name":"Configurations","volume":"30 1","pages":"357 - 366"},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49102602","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}
When we think of museums and science fiction (sf), we might first think of museums in science fiction. H. G. Wells’s Palace of Green Porcelain (from The Time Machine, 1895), is perhaps the most famous example, but it certainly is not the last. Becky Chambers’s recent The Galaxy, and the Ground Within (2021) shows that museums continue to be useful tools for sf writers. In the above-quoted exchange, Chambers is perhaps reflecting on her wider project of exploring human ideas without human subjects—nearly the entire cast of this novel is alien—and though her use of the museum is very different from Wells’s (which is the subject of Jordan Kistler’s article in this issue), the museum turns out to be just as useful for her speculative ends as it was for Wells’s at the end of the nineteenth century. The museum, then, remains a valuable tool for sf authors. If we look carefully, though, we can also trace an equally important line of influence travelling in the opposite direction. Museums are constantly engaging with the ideas tabled by sf in all sorts of ways—not least, commercially—and the influence of imaginative writing over the display of the actual world is also the subject of this special issue. In this brief introduction, we outline a few recent examples of the
当我们想到博物馆和科幻小说(sf)时，我们可能首先想到的是科幻小说中的博物馆。h·g·威尔斯的《绿瓷宫》(出自1895年的《时光机器》)也许是最著名的例子，但它肯定不是最后一个。贝基·钱伯斯(Becky Chambers)的新作《银河系与大地》(The Galaxy, and The Ground Within, 2021)表明，博物馆对科幻作家来说仍然是有用的工具。在上面引用的交流中，钱伯斯也许是在反思她在没有人类主体的情况下探索人类思想的更广泛的项目——这部小说的几乎整个角色都是外星人——尽管她对博物馆的使用与威尔斯的非常不同(这是乔丹·基斯特勒在本期文章中的主题)，但博物馆对她的投机目的来说是一样有用的，就像在19世纪末对威尔斯一样。因此，这个博物馆对科幻作家来说仍然是一个有价值的工具。然而，如果我们仔细观察，我们还可以发现一条同样重要的、向相反方向传播的影响线。博物馆不断地以各种各样的方式参与科幻小说的思想——尤其是在商业上——而富有想象力的写作对现实世界的展示的影响也是本期特刊的主题。在这个简短的介绍中，我们概述了最近的几个例子
{"title":"Introduction: Museums in Science Fiction, Science Fiction in Museums","authors":"Verity Burke, Will Tattersdill","doi":"10.1353/con.2022.0016","DOIUrl":"https://doi.org/10.1353/con.2022.0016","url":null,"abstract":"When we think of museums and science fiction (sf), we might first think of museums in science fiction. H. G. Wells’s Palace of Green Porcelain (from The Time Machine, 1895), is perhaps the most famous example, but it certainly is not the last. Becky Chambers’s recent The Galaxy, and the Ground Within (2021) shows that museums continue to be useful tools for sf writers. In the above-quoted exchange, Chambers is perhaps reflecting on her wider project of exploring human ideas without human subjects—nearly the entire cast of this novel is alien—and though her use of the museum is very different from Wells’s (which is the subject of Jordan Kistler’s article in this issue), the museum turns out to be just as useful for her speculative ends as it was for Wells’s at the end of the nineteenth century. The museum, then, remains a valuable tool for sf authors. If we look carefully, though, we can also trace an equally important line of influence travelling in the opposite direction. Museums are constantly engaging with the ideas tabled by sf in all sorts of ways—not least, commercially—and the influence of imaginative writing over the display of the actual world is also the subject of this special issue. In this brief introduction, we outline a few recent examples of the","PeriodicalId":55630,"journal":{"name":"Configurations","volume":"30 1","pages":"247 - 256"},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43172999","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:An encounter in a museum—viewing objects in a display case or a wall filled with art—is always an encounter with curation. Science fiction gives insights into the power inherent in the curator’s role. Although curators are scarce in science fiction, one major science fiction character who is deliberately positioned by writers as a curator stands out: the Doctor of the popular British television series Doctor Who. As a way of wrapping up this collection of essays on science fiction and museums, I draw on the Doctor’s role as curator to position the collection’s essays as contributions to our understanding of the power of museum curation and where it might go astray. I discuss three themes appearing across the issue: knowledge curation, resisting curation, and dangerous curation. All narratives in the museum are curated to create worlds, and those worlds deserve to be scrutinized and contemplated rather than simply accepted as true. Science fiction narratives tell us that curated worlds can be otherwise.
{"title":"Coda on Curation: Thoughts on Science Fiction and Museums","authors":"Dolly Jørgensen","doi":"10.1353/con.2022.0022","DOIUrl":"https://doi.org/10.1353/con.2022.0022","url":null,"abstract":"ABSTRACT:An encounter in a museum—viewing objects in a display case or a wall filled with art—is always an encounter with curation. Science fiction gives insights into the power inherent in the curator’s role. Although curators are scarce in science fiction, one major science fiction character who is deliberately positioned by writers as a curator stands out: the Doctor of the popular British television series Doctor Who. As a way of wrapping up this collection of essays on science fiction and museums, I draw on the Doctor’s role as curator to position the collection’s essays as contributions to our understanding of the power of museum curation and where it might go astray. I discuss three themes appearing across the issue: knowledge curation, resisting curation, and dangerous curation. All narratives in the museum are curated to create worlds, and those worlds deserve to be scrutinized and contemplated rather than simply accepted as true. Science fiction narratives tell us that curated worlds can be otherwise.","PeriodicalId":55630,"journal":{"name":"Configurations","volume":"30 1","pages":"367 - 375"},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44446361","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 paper explores the “science fictions” encapsulated in natural history museums through an exploration of select examples at Oxford University Museum of Natural History. In this context, the scaffold of historical myths, half-truths, and assumptions behind facts presented in natural history museums as well as epistemological holes papered over when presenting complex information succinctly in museum interpretation are considered science fictions. The science fictions that surround the Oxford dodo, the Museum’s statues of scientist luminaries, and the whale skeletons and fluid-preserved cephalopod specimens on display are examined. Behind the contemporary authoritative interpretation of each of these are stories of mythological creatures, imagined histories, deeply subjective assumptions, pseudo-science, and informed speculation. Lastly, a speculative look is taken at the science fictions of today that are undoubtedly being incorporated into new displays at the museum, currently in development.
{"title":"Science Fiction at the Natural History Museum","authors":"M. Carnall","doi":"10.1353/con.2022.0020","DOIUrl":"https://doi.org/10.1353/con.2022.0020","url":null,"abstract":"ABSTRACT:This paper explores the “science fictions” encapsulated in natural history museums through an exploration of select examples at Oxford University Museum of Natural History. In this context, the scaffold of historical myths, half-truths, and assumptions behind facts presented in natural history museums as well as epistemological holes papered over when presenting complex information succinctly in museum interpretation are considered science fictions. The science fictions that surround the Oxford dodo, the Museum’s statues of scientist luminaries, and the whale skeletons and fluid-preserved cephalopod specimens on display are examined. Behind the contemporary authoritative interpretation of each of these are stories of mythological creatures, imagined histories, deeply subjective assumptions, pseudo-science, and informed speculation. Lastly, a speculative look is taken at the science fictions of today that are undoubtedly being incorporated into new displays at the museum, currently in development.","PeriodicalId":55630,"journal":{"name":"Configurations","volume":"30 1","pages":"341 - 348"},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44000551","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:In H. G. Wells’s The Time Machine, the Time Traveller visits a museum. The episode does little more than supply the Time Traveller with a new box of matches, yet the text is structured to suggest that the Palace of Green Porcelain will provide important information. A vast museum, the Palace houses paleontological, geological, chemical, military, ethnographic, and classical collections, as well as a colossal library. Universal survey museums like the Palace were the dominant form of museum after the mid nineteenth century and were intended to display the totality of human history. This was supposedly achieved through the application of the structures of literary narrative to the museum, in order to construct a bildungsroman of the world. This narrative was intended to provide complete and universal knowledge of the past, but also to allow that “the Present and the Future be interpreted or guessed at,” according to Thomas Carlyle. A universal collection like the Palace, therefore, should contain vital information about the past, the present, and the future. The fact that it doesn’t is key to understanding The Time Machine. The Palace represents the foibles of Victorian historicism, with its claims to cohesion and universality, and is a material testament to its result: mere fragments left behind.
{"title":"I Cannot Tell You All the Story: Narrative, Historical Knowledge, and the Museum in H. G. Wells’s The Time Machine","authors":"J. Kistler","doi":"10.1353/con.2022.0017","DOIUrl":"https://doi.org/10.1353/con.2022.0017","url":null,"abstract":"ABSTRACT:In H. G. Wells’s The Time Machine, the Time Traveller visits a museum. The episode does little more than supply the Time Traveller with a new box of matches, yet the text is structured to suggest that the Palace of Green Porcelain will provide important information. A vast museum, the Palace houses paleontological, geological, chemical, military, ethnographic, and classical collections, as well as a colossal library. Universal survey museums like the Palace were the dominant form of museum after the mid nineteenth century and were intended to display the totality of human history. This was supposedly achieved through the application of the structures of literary narrative to the museum, in order to construct a bildungsroman of the world. This narrative was intended to provide complete and universal knowledge of the past, but also to allow that “the Present and the Future be interpreted or guessed at,” according to Thomas Carlyle. A universal collection like the Palace, therefore, should contain vital information about the past, the present, and the future. The fact that it doesn’t is key to understanding The Time Machine. The Palace represents the foibles of Victorian historicism, with its claims to cohesion and universality, and is a material testament to its result: mere fragments left behind.","PeriodicalId":55630,"journal":{"name":"Configurations","volume":"30 1","pages":"257 - 283"},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42046904","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:While museums are considered to present authoritative representations of natural and cultural history, it is widely accepted that no display neutrally presents an objectively realized exterior world. In this piece, we further that argument by drawing attention to the narrative techniques implicit in staging extinct life, focussing in particular on the similarity between museum display and the tropes of fantasy worldbuilding. We present three short case studies in which Mesozoic life is used in narratives that are straightforwardly at odds with the scientific consensus: the Creation Museum in Kentucky, USA; Biddulph Grange in Staffordshire in the UK; and the display contexts of the dinosauroid, a speculative Stenonychosaurus model created by the Canadian Dale Russell. Our aim is to demonstrate how museums put genre and storytelling to counterfactual purposes. Museums, we conclude, build worlds: worlds that are putatively similar to the one we live in but can just as easily be fictitious. The fact/fantasy boundary is almost always more porous than our shared impressions of museum authenticity typically suggest.
{"title":"Science Fiction Worldbuilding in Museum Displays of Extinct Life","authors":"Verity Burke, Will Tattersdill","doi":"10.1353/con.2022.0019","DOIUrl":"https://doi.org/10.1353/con.2022.0019","url":null,"abstract":"ABSTRACT:While museums are considered to present authoritative representations of natural and cultural history, it is widely accepted that no display neutrally presents an objectively realized exterior world. In this piece, we further that argument by drawing attention to the narrative techniques implicit in staging extinct life, focussing in particular on the similarity between museum display and the tropes of fantasy worldbuilding. We present three short case studies in which Mesozoic life is used in narratives that are straightforwardly at odds with the scientific consensus: the Creation Museum in Kentucky, USA; Biddulph Grange in Staffordshire in the UK; and the display contexts of the dinosauroid, a speculative Stenonychosaurus model created by the Canadian Dale Russell. Our aim is to demonstrate how museums put genre and storytelling to counterfactual purposes. Museums, we conclude, build worlds: worlds that are putatively similar to the one we live in but can just as easily be fictitious. The fact/fantasy boundary is almost always more porous than our shared impressions of museum authenticity typically suggest.","PeriodicalId":55630,"journal":{"name":"Configurations","volume":"30 1","pages":"313 - 340"},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41908252","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 examines the use of nanotechnology in Nalo Hopkinson's novel Midnight Robber and how it gestures toward the historical triangulation of the slave, machine, and labor. The novel's Afro-Caribbean characters are infused with nanomites that monitor social behaviors and ecological processes in service of a global population management. This scalar recalibration recalls physicist Richard Feynman's 1959 lecture on nanotechnology, which envisions miniaturizing the technical "master-slave" system wherein "slave hands" (e.g., mechanical parts) are remotely controlled by "masters" (e.g., operating software). By tracking the evolution of nanotechnology vis-à-vis the "master-slave" metaphor and Midnight Robber, I demonstrate that the imaginaries of nanotechnology derive from the relationships engendered by racial slavery. The novel clarifies how this evolution obscures the ways racial blackness is part of the technological legacy of slavery itself and illustrates that any consideration of the slave-machine-labor constellation must attend to the model of racial blackness that constellation produced.
{"title":"A Hundred Tiny Hands: Slavery, Nanotechnology, and the Anthropocene in Midnight Robber","authors":"D. Leong","doi":"10.1353/con.2022.0010","DOIUrl":"https://doi.org/10.1353/con.2022.0010","url":null,"abstract":"ABSTRACT:This essay examines the use of nanotechnology in Nalo Hopkinson's novel Midnight Robber and how it gestures toward the historical triangulation of the slave, machine, and labor. The novel's Afro-Caribbean characters are infused with nanomites that monitor social behaviors and ecological processes in service of a global population management. This scalar recalibration recalls physicist Richard Feynman's 1959 lecture on nanotechnology, which envisions miniaturizing the technical \"master-slave\" system wherein \"slave hands\" (e.g., mechanical parts) are remotely controlled by \"masters\" (e.g., operating software). By tracking the evolution of nanotechnology vis-à-vis the \"master-slave\" metaphor and Midnight Robber, I demonstrate that the imaginaries of nanotechnology derive from the relationships engendered by racial slavery. The novel clarifies how this evolution obscures the ways racial blackness is part of the technological legacy of slavery itself and illustrates that any consideration of the slave-machine-labor constellation must attend to the model of racial blackness that constellation produced.","PeriodicalId":55630,"journal":{"name":"Configurations","volume":"30 1","pages":"171 - 201"},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49198765","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":"Race After Technology: Abolitionist Tools for the New Jim Code by Ruha Benjamin (review)","authors":"Rachel Boccio","doi":"10.1353/con.2022.0013","DOIUrl":"https://doi.org/10.1353/con.2022.0013","url":null,"abstract":"","PeriodicalId":55630,"journal":{"name":"Configurations","volume":"30 1","pages":"236 - 238"},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41504456","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:As cultural circumstances become increasingly digital, the importance of theoretical frameworks guiding calculated considerations of authorial intention and reader response is being reaffirmed. The framework proposed in this article is that of hermeneutics: the study of understanding, of processes of meaning-making. Although explicit application of hermeneutics has fallen out of fashion, the field is especially valuable for critically approaching digital texts. This article thus serves as a reintroduction to hermeneutics, particularly for digital textual study. It offers an overview of historical hermeneutical views, and then applies a hermeneutics perspective to a new kind of text made possible by digital technologies: computer-generated prose. Through analysis and repurposing of OpenAI's GPT-2 software, this paper argues that the reintegration of hermeneutics in digital textual studies may contribute to more comprehensive understandings of both human and computer intention, especially in instances of computer-generated texts. Digital technologies are changing conventional understandings of authorship and reader responsibility; hermeneutics helps us understand what these changes are, how they have come to be, and why they matter.
{"title":"The Hermeneutics of Computer-Generated Texts","authors":"Leah Henrickson, Albert Meroño-Peñuela","doi":"10.1353/con.2022.0008","DOIUrl":"https://doi.org/10.1353/con.2022.0008","url":null,"abstract":"ABSTRACT:As cultural circumstances become increasingly digital, the importance of theoretical frameworks guiding calculated considerations of authorial intention and reader response is being reaffirmed. The framework proposed in this article is that of hermeneutics: the study of understanding, of processes of meaning-making. Although explicit application of hermeneutics has fallen out of fashion, the field is especially valuable for critically approaching digital texts. This article thus serves as a reintroduction to hermeneutics, particularly for digital textual study. It offers an overview of historical hermeneutical views, and then applies a hermeneutics perspective to a new kind of text made possible by digital technologies: computer-generated prose. Through analysis and repurposing of OpenAI's GPT-2 software, this paper argues that the reintegration of hermeneutics in digital textual studies may contribute to more comprehensive understandings of both human and computer intention, especially in instances of computer-generated texts. Digital technologies are changing conventional understandings of authorship and reader responsibility; hermeneutics helps us understand what these changes are, how they have come to be, and why they matter.","PeriodicalId":55630,"journal":{"name":"Configurations","volume":"30 1","pages":"115 - 139"},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44367037","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:Vascular anastomosis, the surgical process of connecting blood vessels to one another, was made viable by Alexis Carrel at the turn of the twentieth century. His technique became fundamental to modern vascular surgery, and is central to his legacy as the "father" of vascular surgery. Carrel was, however, taught by the famous Lyon embroiderer Marie Anne Leroudier, the significance of which has yet to be examined. In this article, I work with the embroiderer Fleur Oakes to reenact a simulation at which Carrel excelled—putting stitches into a cigarette paper—and discuss a selection of Leroudier's works in relation to his surgical practice. Our simulation and its subsequent discussion, I argue, is an invitation to frame vascular anastomosis in gendered and craft terms, and to problematize the still-dominant construction of the young Carrel as the archetypal heroic, male surgeon.
摘要:血管吻合术是一种将血管相互连接的外科手术，在20世纪初由亚历克西斯·卡雷尔发明。他的技术成为现代血管手术的基础，并成为他作为血管手术之父的遗产的核心。然而，卡雷尔是由里昂著名的刺绣师玛丽·安妮·勒鲁迪埃(Marie Anne Leroudier)教授的，其意义尚未得到检验。在这篇文章中，我与绣工弗勒尔·奥克斯(Fleur Oakes)合作，重现了卡雷尔(Carrel)擅长的一种模拟——在卷烟纸上缝针——并讨论了勒鲁迪尔(Leroudier)的一些与外科实践有关的作品。我认为，我们的模拟和随后的讨论，是在邀请人们从性别和工艺的角度来构建血管吻合，并对年轻的卡雷尔作为英雄的男性外科医生的原型的仍然占主导地位的建构提出问题。
{"title":"Fabric Bodies: The Craft of Vascular Anastomosis","authors":"P. Craddock","doi":"10.1353/con.2022.0009","DOIUrl":"https://doi.org/10.1353/con.2022.0009","url":null,"abstract":"ABSTRACT:Vascular anastomosis, the surgical process of connecting blood vessels to one another, was made viable by Alexis Carrel at the turn of the twentieth century. His technique became fundamental to modern vascular surgery, and is central to his legacy as the \"father\" of vascular surgery. Carrel was, however, taught by the famous Lyon embroiderer Marie Anne Leroudier, the significance of which has yet to be examined. In this article, I work with the embroiderer Fleur Oakes to reenact a simulation at which Carrel excelled—putting stitches into a cigarette paper—and discuss a selection of Leroudier's works in relation to his surgical practice. Our simulation and its subsequent discussion, I argue, is an invitation to frame vascular anastomosis in gendered and craft terms, and to problematize the still-dominant construction of the young Carrel as the archetypal heroic, male surgeon.","PeriodicalId":55630,"journal":{"name":"Configurations","volume":"30 1","pages":"141 - 169"},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41586175","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：