CONTEMPORARY LITERATURE最新文献_第3页

Ralph Ellison’s Computer Memory 拉尔夫·埃里森的计算机内存

IF 0.3 4区文学

CONTEMPORARY LITERATURE Pub Date : 2022-11-30 DOI: 10.3368/cl.62.4.527

Jeff Noh

{"title":"Ralph Ellison’s Computer Memory","authors":"Jeff Noh","doi":"10.3368/cl.62.4.527","DOIUrl":"https://doi.org/10.3368/cl.62.4.527","url":null,"abstract":"© 2022 by the Board of Regents of the University of Wisconsin System n late October 1987, Ralph Ellison wrote a letter to his friend John Kouwenhoven with a complaint about the way black people might be blamed for the stock market crash and the hidden role that Ronald Reagan and computers played in it: “one of the worst things that could have happened to increase the panic on Wall Street was naming the day of its onset ‘Black Monday.’ Why not ‘Reagan Monday’? Or democratize it and call it ‘S. H. F. Day’? Or they could substitute ‘computer’ for ‘F,’ as in fan” (“To John Kouwenhoven” 937). Written following an unusually hot summer when his “writing reached a point that I dared not interrupt,” Ellison’s letter articulates a problem of racial representation in terms of a surprising pair of determinants: the laborsaving device of the computer and a president whose deregulatory schemes the author blamed for the Wall Street crash (“To John Kouwenhoven” 938–39). Ellison’s protracted work on his second novel had involved questions about the relationship between his fiction and its historical context. As he said in a nowfamous letter, written shortly after Brown v. Board of Education, “I could see the whole road stretched out and it got all mixed up with this book I’m trying to write and it left me twisted with joy and a sense of inadequacy. Why did I J E F F N O H","PeriodicalId":44998,"journal":{"name":"CONTEMPORARY LITERATURE","volume":"62 1","pages":"527 - 557"},"PeriodicalIF":0.3,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48431308","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}

引用次数: 0

When the Untheorizable Sustains a Poetry of the Unthinkable, or Theorizing Hemispheric Poetics 当不可理论化维持不可想象的诗，或理论化半球诗学

IF 0.3 4区文学

CONTEMPORARY LITERATURE Pub Date : 2022-08-27 DOI: 10.3368/cl.62.3.440

José Felipe Alvergue

{"title":"When the Untheorizable Sustains a Poetry of the Unthinkable, or Theorizing Hemispheric Poetics","authors":"José Felipe Alvergue","doi":"10.3368/cl.62.3.440","DOIUrl":"https://doi.org/10.3368/cl.62.3.440","url":null,"abstract":"he more academe repositions itself through input from people who live out the negotiation of constant positional entanglements, the more we will see scholarship that seizes on scenarios of power. Potentially even taking up decolonization as strategies that blur institutionalsocial lines of labor and circulation. There will undoubtedly be unresolved matters, terms, and feelings. Each step toward decolonial strategy will clumsily and beautifully touch upon ongoing traumas. Boundaries between deeply personal experiences not historically considered with philosophical rigor, academic discourses, and what, collectively, we define as “study” will have to be figured out. I say all of this upfront because I want to be sure that I openly and sincerely admit to not having a better way of entering into hemispheric poetics than Edgar Garcia’s Signs of the Americas: A Poetics of Pictography, Hieroglyphs, and Khipu. Particularly not one that encompasses his historical or archival scope. Not one that addresses, as directly as Garcia does, colonial contact, translation, curation, and appropriation (though he does not exactly use the word appropriation). Signs of the Americas is a sixchapter work made up of three prominent parts: pictography, the glyph, and khipu. Each part accomplishes something tangible in Garcia’s bigger objective of shifting our scene of reading to “a Mesoamerican poetics of dialectical J O S É F E L I P E A L V E R G U E","PeriodicalId":44998,"journal":{"name":"CONTEMPORARY LITERATURE","volume":"62 1","pages":"440 - 447"},"PeriodicalIF":0.3,"publicationDate":"2022-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46704907","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}

引用次数: 0

Finding Jane: Lyric Individualism, True Crime, and Maggie Nelson’s Multiplicity 《寻找简》：抒情个人主义、真实犯罪与玛吉·纳尔逊的多重性

IF 0.3 4区文学

CONTEMPORARY LITERATURE Pub Date : 2022-08-27 DOI: 10.3368/cl.62.3.371

Diana Filar

{"title":"Finding Jane: Lyric Individualism, True Crime, and Maggie Nelson’s Multiplicity","authors":"Diana Filar","doi":"10.3368/cl.62.3.371","DOIUrl":"https://doi.org/10.3368/cl.62.3.371","url":null,"abstract":"n March 20, 1969, Maggie Nelson’s aunt Jane disappeared. Seeking a ride to her family home in Muskegon from the University of Michigan for spring break, Jane Louise Mixer had posted a note on a community bulletin board and, on the designated evening, was picked up by the responding driver. The next morning, a local woman found the twentythreeyearold law student strangled, dead, leaning against a tombstone in a cemetery off the side of the road. “[F]our years later, almost to the day,” Nelson was born (Jane 28). In 2005, at the start of a new century, a new millennium―and after a new suspect was charged with the crime―she published a collection of poems titled Jane: A Murder, an attempt to grapple with the loss of the aunt she never met and the truths she left behind. Nelson’s interest in her aunt’s murder began when she herself was twentythree years old, the cosmic force of recurring dreams pulling them together after Nelson discovered her aunt’s old diaries, initially mistaking them for her own. This encounter propels Nelson toward an exploration of her aunt’s disappearance and murder through lyrical meditation and experimentation. In Jane and the follow up The Red Parts (2007), Nelson commits to a praxis of continued return, a method for examining D I A N A F I L A R","PeriodicalId":44998,"journal":{"name":"CONTEMPORARY LITERATURE","volume":"62 1","pages":"371 - 396"},"PeriodicalIF":0.3,"publicationDate":"2022-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42172552","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}

引用次数: 0

“What Time Has to Do with Him”: Queer Temporalities in Robert Duncan’s The H. D. Book and “A Seventeenth Century Suite” “时间与他有什么关系”:罗伯特·邓肯的《h.d.》和《十七世纪组曲》中的奇异时间性

IF 0.3 4区文学

CONTEMPORARY LITERATURE Pub Date : 2022-08-27 DOI: 10.3368/cl.62.3.338

T. Altman

引用次数: 0

The Hidden Continents of Publishing 出版的隐秘大陆

IF 0.3 4区文学

CONTEMPORARY LITERATURE Pub Date : 2022-08-27 DOI: 10.3368/cl.62.3.430

Andrew Goldstone

引用次数: 0

Speculative Geologies: Project Mohole and Anthropocene Narratives in the Work of Reza Negarestani and Karen Tei Yamashita 推测地质学:Reza Negarestani和Karen Tei Yamashita作品中的莫霍工程和人类世叙事

IF 0.3 4区文学

CONTEMPORARY LITERATURE Pub Date : 2022-08-27 DOI: 10.3368/cl.62.3.397

P. Whitmarsh

引用次数: 0

“Wildly Constant”: Anne Carson’s Poetics of Encounter “狂野不变”：安妮·卡森的遭遇诗学

IF 0.3 4区文学

CONTEMPORARY LITERATURE Pub Date : 2022-08-27 DOI: 10.3368/cl.62.3.307

Reena Sastri

{"title":"“Wildly Constant”: Anne Carson’s Poetics of Encounter","authors":"Reena Sastri","doi":"10.3368/cl.62.3.307","DOIUrl":"https://doi.org/10.3368/cl.62.3.307","url":null,"abstract":"© 2022 by the Board of Regents of the University of Wisconsin System he title of Anne Carson’s 2009 poem “Wildly Constant” poses a question: how to reconcile constancy―fidelity, continuity―with wildness―freedom, openness to the unexpected, to chance and change. The question pertains to marriage: the poem tells the story of a honeymoon that is also a writer’s retreat, and its narrative recounts the speaker’s leaving and returning to her husband’s bed. Seen differently, the paradox of wild constancy inheres in such practices as ekphrasis, translation, and literary criticism, where fidelity to a work of art both invites and constrains creative response. Encounters with persons and texts arrest, enliven, and inspire. Being true to these encounters entails openness to being changed by them, and willingness to be true to them by transforming them in turn. Creativity inheres in this wild constancy. “Anne Carson is not an uncreative writer,” Oran McKenzie notes, “but” her work is “highly derivative, blending poetry, essay, criticism and translation in multilayered and complex juxtapositions of quotes, allusions, echoes and ekphrastic descriptions” (227).1 “Genre hybridity,” remarks John James, “has long been a hallmark","PeriodicalId":44998,"journal":{"name":"CONTEMPORARY LITERATURE","volume":"62 1","pages":"307 - 337"},"PeriodicalIF":0.3,"publicationDate":"2022-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47961462","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}

引用次数: 0

Trauma and Memory 创伤与记忆

IF 0.3 4区文学

CONTEMPORARY LITERATURE Pub Date : 2022-08-06 DOI: 10.2307/1209010

Vladimir Jovic, S. Varvin

{"title":"Trauma and Memory","authors":"Vladimir Jovic, S. Varvin","doi":"10.2307/1209010","DOIUrl":"https://doi.org/10.2307/1209010","url":null,"abstract":"A theory of traumatic memory was developed by Breuer and Freud in “Studies on Hysteria” based on Charcot’s theory on the traumatic origin of mental disorders. This was again developed in DSM-III in 1980 with the introduction of posttraumatic stress disorder (PTSD), where traumatic memory was conceptualized as a core of the syndrome and set in causal relationship with its manifestations. This implied that “trauma” tended to be seen as something static and reified, like a “thing” in the mind. It is shown that this conceptualisation diverts attention from the dynamic and reorganizing processes in the traumatized person’s mind, body and relations to others. The psychoanalytic conceptualization includes a wider spectre of the manifestations in posttraumatic conditions and it differs in the understanding of underlying processes. What is common for both childhood and adult trauma and their posttraumatic manifestations are deficiencies in symbolization processes related to the traumatic experiences. The signal anxiety function fails and the ego is overwhelmed by automatic or annihilation anxiety. The ability to distinguish between real danger and neutral stimuli which function as triggers fails. As anxiety related to trauma cannot be mentalized, fragments of the self are split off and evacuated. These experiences remain as fragmented bits and pieces that can express themselves in bodily pain, dissociated states of mind, nightmares and relational disturbances. Thus, the consequences of psychological trauma may be conceptualised as processes characterised by splitting off of not mentalized inner objects/introjects and parts of the mental apparatus. These processes are illustrated with a short clinical vignette.","PeriodicalId":44998,"journal":{"name":"CONTEMPORARY LITERATURE","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1209010","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68516244","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}

引用次数: 1

Jack Spicer’s Articulatory Correspondences, or Why Should We Have to Use Our Mouths to Hear Messages? 杰克·斯派塞的发音对应，或者为什么我们必须用嘴来听信息?

IF 0.3 4区文学

CONTEMPORARY LITERATURE Pub Date : 2022-06-04 DOI: 10.3368/cl.62.2.237

B. Kossak

{"title":"Jack Spicer’s Articulatory Correspondences, or Why Should We Have to Use Our Mouths to Hear Messages?","authors":"B. Kossak","doi":"10.3368/cl.62.2.237","DOIUrl":"https://doi.org/10.3368/cl.62.2.237","url":null,"abstract":"ack Spicer famously blamed his vocabulary for his demise, but as Robin Blaser’s recollection of his final words shows, it is perhaps mouths that gave him more trouble while he lived. On his deathbed, drifting in and out of his alcoholic coma, Spicer’s “speech was a garble,” coming out as “nonsense sounds” as he “struggled to tie his speech to words” and finally “wrenched his body” to produce his last lines (Blaser, The Fire 162). After this, Spicer “tried again, frowned, and failed to put his head and his words together again.” Or, as Blaser puts it in his Astonishment Tapes, “The head and the tongue had separated and you got nothing but a garble” (64). This last moment of heroically trying to marshal his uncooperative body to bequeath a final bit of language to the world sums up Spicer’s life’s work maybe better than the words his body finally (and finally) produces: “My vocabulary did this to me; your love will let you go on” (Blaser, The Fire 163). While Blaser resolves the scene of illegibility into this line on love and language, the struggle to produce that language (to mark that love) highlights the nontrivial effort it takes for our physiology to produce speech. Putting one’s head and words together requires lungs, a diaphragm, vocal chords, the tongue, lips, hard and soft palates, and oral and nasal cavities. As Brandon LaBelle writes, voice and mouth are so wrapped up in each other “that to theorize the performativity of the spoken is to confront the tongue, the teeth, the lips, and the throat; it is to feel the mouth as a fleshy, wet lining around each syllable” B E N J A M I N K O S S A K","PeriodicalId":44998,"journal":{"name":"CONTEMPORARY LITERATURE","volume":"62 1","pages":"237 - 261"},"PeriodicalIF":0.3,"publicationDate":"2022-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42601429","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}

引用次数: 0

Archival Assemblages: Conceptualism and Documentary Poetics in the Twenty-First Century 档案组合:二十一世纪的观念主义与纪实诗学

IF 0.3 4区文学

CONTEMPORARY LITERATURE Pub Date : 2022-06-04 DOI: 10.3368/cl.62.2.268

Olivia Milroy Evans

引用次数: 0