{"title":"Empathic Vision? War Photography, Ekphrasis, and Memory in Bosnian War Literature","authors":"S. Vervaet","doi":"10.1515/9783110693959-008","DOIUrl":"https://doi.org/10.1515/9783110693959-008","url":null,"abstract":"happen tragedies.","PeriodicalId":420435,"journal":{"name":"Terrorizing Images","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133473404","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"What Does It Mean To Be Human? Speculative Ekphrasis and Anthropocene Trauma in Don DeLillo’s Zero K","authors":"Ø. Vågnes","doi":"10.1515/9783110693959-003","DOIUrl":"https://doi.org/10.1515/9783110693959-003","url":null,"abstract":"The Manhattan art gallery visit has become something of a regularity in Don DeLillo’s twenty-first-century fiction. The entirety of the short story “Baader-Meinhof” (2002) takes place at the Gerhard Richter retrospective at the Museum of Modern Art in February–May of 2002. In Falling Man (2007), a visit to a Giorgio Morandi exhibition in Chelsea provides scenes central to the novel’s overall design. And the early pages of Point Omega (2010) once again pay a visit to MOMA, where an unnamed character spends a considerable amount of time in the darkness of a room in which Douglas Gordon’s “24 Hour Psycho” (1993) is being projected. In spite of all its encounters with images of different kinds, Zero K (2016) marks a break from this tendency to fictionalize events taking place at real-life exhibitions housed by landmark institutions in New York City’s art world. The ekphrastic moments of what is the author’s most markedly futuristic novel to date all appear at a fictional facility, The Convergence, which specializes in life extension through cryonic freezing. Rather than revolving around existing art works, the scenes are engaged with the visualization of fictitious images that do not belong to what we normally think of as the realm of art. The ekphrasis of Zero K can thus be understood as what I in this chapter propose to describe as “speculative ekphrasis”: evocations of visual events that resonate with distinct, speculative aesthetic imaginaries. In what follows, I will show how the juxtaposition of this form of speculative ekphrasis with a markedly non-ekphrastic, traumatized language is instrumental to the novel’s exploration of what I find to be its chief concerns: the ramifications of the parallel emergence of what is referred to in critical discourse as “the Anthropocene” and “the posthuman subject.”","PeriodicalId":420435,"journal":{"name":"Terrorizing Images","volume":"2010 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117055573","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}