Pub Date : 2021-12-01DOI: 10.1215/00166928-9407610
James Zeigler
In recognition of the distinguished scholar J. Hillis Miller's long service to the journal as an advisory editor and author, Genre has reprinted a transcript of a symposium to conclude the conference “Contemporary Genre Theory and the Yale School.” The conference was held at the University of Oklahoma in 1984. Panelists Barbara Johnson, Louis Mackey, and J. Hillis Miller comment on work presented at the conference over the previous two days and respond to questions from the audience. Much of the discussion focuses on an appraisal of the differences between deconstructive and Marxist approaches within the discipline of literary studies.
为了表彰杰出的学者J. Hillis Miller作为顾问编辑和作者长期服务于该杂志，《体裁》重印了一次研讨会的记录，以结束“当代体裁理论和耶鲁学派”会议。会议于1984年在俄克拉荷马大学举行。小组成员Barbara Johnson, Louis Mackey和J. Hillis Miller对前两天会议上展示的工作进行了评论，并回答了观众的问题。大部分讨论集中在对文学研究学科中解构主义和马克思主义方法之间差异的评价上。
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Pub Date : 2021-12-01DOI: 10.1215/00166928-9417649
Julia Jarcho
Sarah Balkin’s Spectral Characters: Genre and Materiality on the Modern Stage is a noteworthy addition to works emphasizing ghostliness, material presence, and genre connections between nineteenth-century melodrama and the modern dramatic repertory. The book follows along similar lines as Marvin Carlson’s The Haunted Stage, Alice Rayner’s Ghosts: Death’s Double and the Phenomena of Theatre, Andrew Sofer’s Dark Matter: Invisibility in Drama, Theater, and Performance, and other books partaking in issues related to ipseity—how dramatic characters are susceptible to other people, the haunted past, and material things onstage—and also explores the reconfiguration of identity as it pertains to language and genre formation. Balkin analyzes the “apparent deadness of characters whose selves are made of other people, whose thoughts become exteriorized communication technologies, and whose bodies merge with walls and furniture” (3). As a consequence, the qualities of dramatic characters “mark a new relationship between the material and the imaginary in modern theater” (3). Balkin’s introductory chapter explores the rise of Gothic melodrama and the occult during the late nineteenth century. Scenography and dramaturgy in notable plays such as J. R. Planché’s The Vampire, Dion Boucicault’s The Corsican Brothers, and Leopold David Lewis’s The Bells influenced the three luminaries of modern drama: Ibsen, Wilde, Strindberg. These nineteenth-century plays and their stage technology, Balkin contends, “make visible what we might call the ‘material occult,’ a concept that emphasizes the materiality of supernatural and imaginary forces on the modern stage” (16). Balkin’s next four chapters examine those three playwrights (especially Strindberg), concluding with a final chapter on Jean Genet, Arthur Kopit, and Samuel Beckett—dramatists representing late modernist authors who “reinforce continuities among realism and modernism via shared bodies, dead matter, and generic hauntings” (25).
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Pub Date : 2021-12-01DOI: 10.1215/00166928-9407597
E. Cameron
This essay focuses on the possibility of articulating a form of nostalgia in film not tied to an opposition to irony. It concentrates on the neo-noir cinema of David Lynch precisely because he is a master of balancing nostalgic sincerity and postclassical irony within the same film. Therefore, the essay argues that the films of David Lynch present the viewer with a way out of the postmodern deadlock where nostalgia remains less radical than irony. To make this argument, the essay utilizes Giambattista Vico's notion of the ricorso from book 5 of The New Science in order to situate Lynch's unique position within the history of film noir as a genre. Vico's poetic developmental scheme, which relies on the “four master tropes” (metaphor, metonymy, synecdoche, and irony), is adapted to the historical evolution of film noir as a genre. The essay then translates Vico's ricorso into a fifth master trope, metalepsis, and connects Lynch's form of postnostalgic uncanny (and Vico's ricorso) to metalepsis (in both the tropological and narrative sense) to show how Lynch moves neo-noir beyond the structure of irony without flirting with the new sincerity or metamodernism.
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Pub Date : 2021-12-01DOI: 10.1215/00166928-9664319
Barbara Johnson, Louis H. Mackey, J. Miller, J. Springer, Elizabeth McLemore
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Pub Date : 2021-07-01DOI: 10.1215/00166928-9263065
Liz Shek-Noble
Alexis Wright's second novel, Carpentaria, received critical acclaim upon its publication by Giramondo in 2006. As the recipient of the Miles Franklin Literary Award in 2007, Carpentaria cemented Wright's position as the country's foremost Indigenous novelist. This article places Carpentaria within contemporary discussions of “big, ambitious novels” by contemporary women novelists by examining the ways the novel simultaneously invites and resists its inclusion into an established canon of “great Australian novels” (GANs). While critics have been quick to celebrate the formal innovations of Carpentaria as what makes it worthy of GAN status, the novel nevertheless opposes the integrationist and homogenizing myths that accompany canonization. Therefore, the article finds that Wright's vision of a future Australia involves moments of antagonism and mutual understanding between white settler and Indigenous communities. This article uses the work of Homi Bhabha to argue that Carpentaria demonstrates the emergence of a third space wherein negotiation between these two cultures produces knowledge that is “new, neither the one nor the other.” In so doing, Wright shows the resilience of Indigenous knowledge even as it is subject to transformation upon contact with contradictory ideological and epistemological frameworks.
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Pub Date : 2021-07-01DOI: 10.1215/00166928-9263052
V. Román
This essay argues that Valeria Luiselli's Lost Children Archive (2019) experiments with literary techniques often associated with the “big, ambitious novel” to represent the pervasive problems created by US racial construction. More specifically, it contends that Luiselli's novel evokes the archive in its fragmentation, recombinant organization, and narrative multiplicity as a means for demonstrating the complexity and relentlessness of the refugee crisis and the constructions of Latinx difference that develop alongside it. Creating a recursive, referential narrative form, Lost Children Archive highlights the absences of refugee voices, attends to the histories of violence that have led to their disappearance, and refuses to posit an answer to how the story of the crisis ends. This analysis reroutes theories of the big, ambitious novel through discussions of archival recovery, immigrant maximalism, and historical revision developed in feminist and critical race theory, and suggests that big, ambitious novel strategies like polyphony, fragmentation, and centripetal connectivity are the provenance of women and people of color at least as much as they are the domain of the white men often associated with the form.
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Pub Date : 2021-07-01DOI: 10.1215/00166928-9263131
J. Werlin
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Pub Date : 2021-07-01DOI: 10.1215/00166928-9263078
I. Delazari
This article explores the “encyclopedic” properties of Madeleine Thien's Do Not Say We Have Nothing (2016), seeking to define the novel as inherently comparative—that is, providing, in Edward Said's words, “a comparative or, better, a contrapuntal perspective” on the world with no need for a second counterpart text to draw cross-literary parallels. Written from a transpacific narratorial stance of a millennial Vancouver-based daughter of Chinese immigrants, the narrative communicates her secondhand knowledge about the traumatic twentieth-century history of the People's Republic of China, accumulated in multiple alternating substories of ordinary individuals’ “practical past” as opposed to official historiography. The article likens Thien's patchwork storytelling to Jorge Luis Borges's apocryphal “Chinese” encyclopedia and novel, to the premodern equation between language and reality discussed in Michel Foucault's “archaeology of knowledge,” to classical Chinese novels as described by Goethe and Franco Moretti, and to J. S. Bach's polyphonic layout of the Goldberg Variations. Constructing sympathetic networks of music and literature, Do Not Say We Have Nothing facilitates readerly immersion, yet its fictional storyworld may not feel universally plausible. Sharing its writer's experience of teaching Thien in Hong Kong, the article suggests that a critique of the novel's Western, nearly Orientalist standpoint with respect to sensitive issues of recent Chinese history does not dismiss the contrapuntal outlook Thien's readers are invited to adopt beyond their experiential backgrounds. Reading Thien, one learns to hear the world's polyphony. That, and not a comprehensive multitude of facts summarizing a national mentality and coherent knowledge about the world, makes Do Not Say We Have Nothing encyclopedic.
本文探讨了马德琳·田恩的《不要说我们一无所有》(2016)的“百科全书”属性，试图将这部小说定义为本质上的比较——也就是说，用爱德华·赛义德的话来说，它提供了对世界的“比较视角，或者更好的是对位视角”，而不需要第二个对等文本来进行跨文学的比较。她是一位居住在温哥华的千禧一代中国移民的女儿，从跨太平洋的叙事立场出发，讲述了她对中华人民共和国20世纪创伤历史的二手知识，这些知识积累在普通人“实际过去”的多个交替的子故事中，而不是官方的历史编纂。这篇文章将田文轩的拼凑式叙事比作豪尔赫·路易斯·博尔赫斯(Jorge Luis Borges)虚构的“中国”百科全书和小说，比作米歇尔·福柯(Michel Foucault)的“知识考古学”中讨论的语言与现实之间的前现代方程式，比作歌德和佛朗哥·莫雷蒂(Franco Moretti)所描述的中国古典小说，以及巴赫(J. S. Bach)的《哥德堡变奏曲》(Goldberg Variations)的复调布局。《不要说我们一无所有》构建了音乐和文学的共鸣网络，促进了读者的沉浸感，但其虚构的故事世界可能并不普遍可信。这篇文章分享了作者在香港教田天明的经历，并指出，对小说在中国近现代历史敏感问题上的西方、近乎东方主义立场的批评，并没有忽视田天明的读者被邀请采用的超越他们经验背景的对位观点。读《天》，一个人学会了倾听世界的复调。《不要说我们一无所有》是一部百科全书式的著作，而不是综合了大量的事实，概括了一个民族的心态和对世界的连贯认识。
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