ParallaxPub Date : 2022-07-03DOI: 10.1080/13534645.2023.2198751
Kristina Mendicino
{"title":"No Telling, Beginning with Gravity’s Rainbow","authors":"Kristina Mendicino","doi":"10.1080/13534645.2023.2198751","DOIUrl":"https://doi.org/10.1080/13534645.2023.2198751","url":null,"abstract":"...no beginning may be necessary. But cause would be necessary for every beginning of consequence. By definition, writes Aristotle, ‘a beginning is that which is not of necessity after another, but after which something different is brought forth’. Alone, ‘bringing forth’ something ‘different’ translates to the thought that each ‘beginning’ should work as a productive, poetic or ‘efficient’ cause. And even before this sequence will be spelled out in the Poetics, the ‘praxis’ or ‘action’ (pqᾶni1) that makes up the ‘myth’ (lῦho1) of dramatic plot will be said to require a ‘syntax’ (rύrsari1) of ‘pragmatic matters’(pqacl asx ) (1450a 4; 1450b 15) – whose ultimate end is their first and final cause. In poetry as in the praxes of life, that is, ‘the telos is the greatest [component] of all’ (sὸ dὲ sέko1 lέcirso ἁpά sx ) (1450a 24).","PeriodicalId":46204,"journal":{"name":"Parallax","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41676475","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}
ParallaxPub Date : 2022-07-03DOI: 10.1080/13534645.2023.2202469
Jörg Kreienbrock
{"title":"Techniques of Exposition: Introducing Heimito von Doderer’s The Strudlhof Steps","authors":"Jörg Kreienbrock","doi":"10.1080/13534645.2023.2202469","DOIUrl":"https://doi.org/10.1080/13534645.2023.2202469","url":null,"abstract":"When does Heimito von Doderer’s novel The Strudlhof Steps (1951) begin? What are its specific ‘techniques of exposition’? In his poetological essay, ‘Grundlagen und Funktion des Romans’ [Function and Fundamentals of the Novel], (1970) Doderer uses musicological terminology to describe his expository technique of opening a narration: ‘Exposition durch Einstreuung und Einbettung; man k€onnte das auch Vorhalte nennen, wie in der Musik, wenn Bestandteile eines neuen Accordes, der sp€ ater erst dem Satz zu Grunde liegen wird, vorweg genommen werden’ [Exposition through interspersion and embedding; one could call it a forefall, like in music, when elements of a new chord are being anticipated that will later ground the movement]. In other words, the novel opens through the processes of what Doderer calls ‘interspersion’ and ‘embedding’, ornamental insertions that, insofar as they anticipate a future event, resemble the musical device of a ‘forefall’. Doderer distinguishes this simultaneously halting and foretelling technique of beginning from what he calls an ‘additive Technik’ [additive method], which, he writes, ‘legt vor den Augen des Lesers in direkt auf ihr Ziel hin sich bewegender Weise die Fundamente; alles tritt nacheinander heran im Flusse der Zeitfolge’ [lays the fundamentals before the reader such that everything moves directly towards its goal; each thing follows the next in the linear flow of time]. Exposition by means of ‘interspersion’ and ‘embedding’ – or, in Doderer’s musical terms, a ‘forefall’ – suspends linear narration by introducing a ‘vorgelegte und heterogene Handlung’ [propounded and heterogeneous action] into the ‘Hauptbett’ [main riverbed] of the plot. This essay investigates Doderer’s technique of exposition and exposure in The Strudlhof Steps and asks what it means for a novel to begin with the ornament of a forefall, keeping its movement at bay.","PeriodicalId":46204,"journal":{"name":"Parallax","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47453180","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}
ParallaxPub Date : 2022-07-03DOI: 10.1080/13534645.2023.2198752
J. Mieszkowski
{"title":"Suddenly Beckett","authors":"J. Mieszkowski","doi":"10.1080/13534645.2023.2198752","DOIUrl":"https://doi.org/10.1080/13534645.2023.2198752","url":null,"abstract":"The first sentence of the first page of the first of the thirteen short prose pieces that make up Samuel Beckett’s Texts for Nothing begins: ‘Suddenly, no, at last, long last, I couldn’t any more, I couldn’t go on’. Texts for Nothing gets going by describing a past inability to continue, but this information is presented only after it is clarified that this incapacity, which is initially said to have beset the speaker in an instant (‘suddenly’), actually took a long time to develop (‘at last, long last’). If ‘suddenly’ heralds an abrupt or unforeseen occurrence, the opening sentence of Texts retracts this sense of haste or surprise before it provides any information about the event in question. The result is that ‘no’, the immediate response to ‘suddenly’, feels more sudden than ‘suddenly’, as if with its second word the text were reflecting on and summarily condemning the appropriateness of its first. Freed from the task of modifying the rest of the sentence, the adverb that starts things off is to be set aside, no longer a functional syntactic or semantic element. In opening with a word that it promptly rejects, Texts alerts us that any and every subsequent word may be no less provisional. Scarcely a few syllables in, the commitment of this prose to its own articulations is already very much in doubt.","PeriodicalId":46204,"journal":{"name":"Parallax","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41457163","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}
ParallaxPub Date : 2022-07-03DOI: 10.1080/13534645.2023.2198747
Dominik Zechner
{"title":"Ashes: DeLillo’s Departure from the Referent","authors":"Dominik Zechner","doi":"10.1080/13534645.2023.2198747","DOIUrl":"https://doi.org/10.1080/13534645.2023.2198747","url":null,"abstract":"There is something impossible about writing a first sentence. Any other sentence, even last sentences, have something to build on; they come from somewhere, are continuing something. Whatever precedes them already stipulates their direction. Even if they break off from what comes before, as the anacoluthon would, what’s previously there fundamentally conditions the diversion’s very possibility. Prior to the existence of a sentence there exists another sentence. But is this also true for first sentences? Where exactly do they come from? What prepares their occurrence? What do they have to work with? In what follows, I propose to interrogate the possibility of the first sentence with regard to the constitutive rift between literature, or language in general, on the one hand, and phenomenal reality on the other. My suggestion would be that first sentences have to negotiate this rift in complex ways, which is to say, they need to secure the integrity of their linguistic environment by somehow tearing away the possibility of a literary world from referential reality. First sentences interpolate reality and thus draw a boundary between words and experiential objects and events. I will be expounding this issue by drawing on a series of theoretical takes on the problem of reference and will be arranging these interrogations around a discussion of Don DeLillo’s 2007 novel Falling Man, specifically its first sentence: ‘It was not a street anymore but a world, a time and space of falling ash and near night’.","PeriodicalId":46204,"journal":{"name":"Parallax","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48740386","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}
ParallaxPub Date : 2022-07-03DOI: 10.1080/13534645.2023.2198750
Charles de Roche
{"title":"Delayed Origins, Initial Inhibitions: The Beginnings of Fatherlandish Song and the Task of Answering the Mother in Hölderlin’s Am Quell der Donau","authors":"Charles de Roche","doi":"10.1080/13534645.2023.2198750","DOIUrl":"https://doi.org/10.1080/13534645.2023.2198750","url":null,"abstract":"The present essay represents an attempt to elucidate certain aspects of Friedrich H € olderlin ’ s early ‘ fatherlandish songs ’ , centred around the frag-mentary hymn Am Quell der Donau from 1801, in the perspective of psycho-analytic theory. I am referring to the theory of a ‘ motherly unconscious ’ , prolonging the psychic life of the mother in the speaking subject, in the version of the Franco-Hungarian psychoanalyst Nicolas Abraham. Establishing a fundamental relation between the process of language acquisition and the psychic relation between mother and child, this theory can be read as a conceptual elaboration of the vernacular term ‘ mother tongue ’ . As I shall argue below, a similar problematic can be found to underlie the conception and elaboration of the texts intended by H € olderlin to launch the cycle of poems named ‘ fatherlandish songs ’ ( Vaterl € andische Ges € ange ). I suggest a psychoanalytic reading of these texts centring around the mythologico-genealogical figures of the divine Father celebrated in the title of the projected cycle on the one hand, Mother Earth or Mother Asia as the addressee of its initial texts on the other. While attention to these figures and their relation is quite established in H € olderlin research, my focus shall be more specifically on the problematic of the speaking subject ’ s claim to an original, initial, foundational speech in relation to the inevitable anteriority of the parental instances evoked within the mythologic content of this speech. 1 The question guiding the reflections of this essay, devoted in the first part to a discussion of Abraham ’ s theory and in the second to a reading of the H € olderlin texts in question, can therefore be put as follows: what is the relation between the poetic task of beginning to sing an original song and the related task of addressing and answering the Mother?","PeriodicalId":46204,"journal":{"name":"Parallax","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46806079","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}
ParallaxPub Date : 2022-07-03DOI: 10.1080/13534645.2023.2198749
Adam R. Rosenthal
{"title":"Restarting The Prelude","authors":"Adam R. Rosenthal","doi":"10.1080/13534645.2023.2198749","DOIUrl":"https://doi.org/10.1080/13534645.2023.2198749","url":null,"abstract":"In his 1979 essay ‘Living On’, amidst a reading of Blanchot’s ‘The Madness of the Day’, Jacques Derrida proposes that one replaces ‘the question of narrative’ – ‘What is a narrative [r ecit]?’ – with what he calls ‘the demand of narrative’. At stake in such a gesture is the nature of the narrative object itself. Before one could ask after the being of narrative, Derrida here implies, one would have to approach the force, or insistence, of narrative. In other words, before there could be any engagement with the narrative thing, as a form of presence, one would have to consider the exigence of narrative (r ecit), which conditions, but also exceeds, the given surface of the woven text. Narrative – or r ecit – in short, pre-empts every merely frontal interrogation of it. And it is for this reason that it demands that one address first of all its demand:","PeriodicalId":46204,"journal":{"name":"Parallax","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41428657","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}
ParallaxPub Date : 2022-07-03DOI: 10.1080/13534645.2023.2198748
S. Anton
{"title":"Rousseau’s Shameless Beginnings","authors":"S. Anton","doi":"10.1080/13534645.2023.2198748","DOIUrl":"https://doi.org/10.1080/13534645.2023.2198748","url":null,"abstract":"Beginning is hard. It always feels so arbitrary. Things get easier, it’s true, once we’ve begun, for example by simply saying ‘in the beginning’. Yet once we’re on our way, we don’t know where we’re going. Having begun, we need a destination, an end, to finish beginning. Such an end allows it to take place so that it has been. Otherwise, it would be without preterition, imperfect. Without an end, beginning would be paratactic, repetitive – endless.","PeriodicalId":46204,"journal":{"name":"Parallax","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44984657","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}
ParallaxPub Date : 2022-07-03DOI: 10.1080/13534645.2023.2198746
Ian Balfour
{"title":"Titles as Beginnings before Beginnings","authors":"Ian Balfour","doi":"10.1080/13534645.2023.2198746","DOIUrl":"https://doi.org/10.1080/13534645.2023.2198746","url":null,"abstract":"Has the text perhaps begun before the beginning? Before what is usually and understandably considered the beginning? Before the opening words of a novel or line of a poem? We would usually think that the book known as Moby-Dick begins with the memorable injunction: ‘Call me Ishmael’. Yet before these words stand some others, most prominently and pertinently Moby-Dick; or The Whale. The equivocation as to what constitutes the real beginning of the work could turn on whether or not the title is considered inside or outside the work, ergon or parergon. G erard Genette considers the title one among other paratexts, one of several thresholds or seuils, as he called them in a book published by none other than Editions du Seuil. Among paratexts such as author’s name, dedication, or epigraph, the title is arguably the most crucial for the interpretation of the work, perhaps the most intimate, the most nearly organic threshold. Most scholars and people generally consider the title to be outside of the work proper but importantly related to it. Yet Genette’s figure of the threshold seems about as good as one can do to characterise this relation. ‘Threshold’ suggests that the title is not simply outside the work but on its cusp, at once inside and outside. And perhaps in some works more than others.","PeriodicalId":46204,"journal":{"name":"Parallax","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48399745","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}
ParallaxPub Date : 2022-07-03DOI: 10.1080/13534645.2023.2198745
Kristina Mendicino, Dominik Zechner
{"title":"Coming to (Language): Introduction","authors":"Kristina Mendicino, Dominik Zechner","doi":"10.1080/13534645.2023.2198745","DOIUrl":"https://doi.org/10.1080/13534645.2023.2198745","url":null,"abstract":"In the spring semester of 1988, German philosopher Peter Sloterdijk was invited to deliver the famous Frankfurter Poetikvorlesungen (Frankfurt lectures in poetics) at the Johann Wolfgang Goethe University in Frankfurt am Main. The topic he chose to explore in the course of the five lectures was that of beginnings: ‘Zur Welt kommen – Zur Sprache kommen’ [coming to the world – coming to language]. The title of the series opens an interesting perspective on the problem of commencement – as it suggests that before we can arrive in order to ‘start something’, there must be a pre-existing context that is going to host our arrival. Otherwise put, we are never the ones ‘starting’ the world – on the contrary, whatever project we might wish to begin, it begins within a context that had already begun and whose beginning was not contingent upon our arrival. Which is to say that whatever beginning is possible is only possible to the extent that something had already begun, that a beginning had been made in the course of which the very field had been opened up within which thenceforth the making of beginnings was possible. Our beginning is feasible only because it transpires in the context of a world within which beginning is, in principle, possible, but whose own beginning is not conditional upon us, our arrival, nor our beginning. If the world is the context that allows for the gesture of beginning, this gesture itself is incapable of inaugurating the world. After all, we are mortals – not world-making divinities; and our beginnings are thus never absolute but derivative and secondary, inscribed within the field of possible beginnings whose own beginning must elude us. The first phrase of Sloterdijk’s title – ‘zur Welt kommen’ – therefore already signals a rift between beginning and beginning: as though a commencement were never just one but multiple. And once the possibility of beginning was begun, a dissemination of beginnings would occur that rendered a conceptual unity of all beginning unthinkable.","PeriodicalId":46204,"journal":{"name":"Parallax","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47105825","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}
ParallaxPub Date : 2022-04-03DOI: 10.1080/13534645.2023.2184949
A. Nae
{"title":"From Saviour to Colonial Perpetrator: Manipulating Player Empathy in Silent Hill 2 and Silent Hill: Origins","authors":"A. Nae","doi":"10.1080/13534645.2023.2184949","DOIUrl":"https://doi.org/10.1080/13534645.2023.2184949","url":null,"abstract":"Survival horror is a subgenre of the action-adventure genre whose main game design features were established by Alone in the Dark (Infogrames, 1992) and Resident Evil (Capcom, 1996). Unlike more conventional games that aim to offer players a seamless gameplay experience, survival horror typically features a set of mechanics that enfeeble the playable character and work against the player’s attempt to achieve the game’s ludic goal. Although recent survival horror games feature a more heterogeneous game design and sometimes more powerful playable characters, early survival horror games rarely deviated from the Resident Evil formula. What is interesting about these early games, also referred to as classical survival horror, is that their propensity to defy the dominant game design norms is paralleled on an ideological level where, in keeping with the Gothic tradition, they challenge existing power structures. While on a more explicit level classical survival horror games usually contest patriarchal gender power relations, a deeper insight into the genre will reveal that some games provide a critique of the dominant culture that is more far-reaching. This article argues that the classical survival horror games Silent Hill 2 (Team Silent, 2001) and Silent Hill: Origins (Climax Studios, 2007) convey a postcolonial critique of the colonial assumptions of gameplay in action-adventure games. These games cue players to empathise with the playable characters whose agency in the game worlds they inhabit amounts to the perpetration of colonial violence against entities representing racial otherness. After several hours of gameplay, the games highlight the immorality of the playable character’s deeds and reveal the player’s complicity in colonial violence. This way, they raise awareness with respect to the colonial dimension of gameplay and question the uneasy relationship with perpetration that action games entertain in their subservience to the military-industrial-entertainment complex.","PeriodicalId":46204,"journal":{"name":"Parallax","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46228138","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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