Bourdieu in Contention and Deliberation: Response to Lamont and Lizardo

This essay responds to Lamont’s (2011) article “How Has Bourdieu Been Good to Think With? The Case of the United States,” and Lizardo’s (2011) essay “The Three Phases of Bourdieu’s U.S. Reception,” both of which appear in this issue.     

A strange lobster tale of self-sacrificial transversality: or,transversal poetics flourishes in the spectral ether of Deleuze,Bataille, and Shakespeare

ABSTRACT

Written from the perspective of Transversal Poetics, this essay involves an exploration of the theory’s various selves in the context of a self-immolating spectacle staged at London’s New Globe Theatre by the theory’s progenitor, Dr. Bryan Reynolds. The essay outlines the history of this scandalous affair, which was inspired by the work of Rodrigo Garcia (Accidens: Matar Para Comer), Deleuze and Guattari, and George Bataille. Transversal Poetics travels with Reynolds to London and is shocked and appalled by the lurid transgression that unfolds on stage as Reynolds is hung on a massive hook and then dismembered for the adoring crowds. Exploring the complexity of its own reactions to this new initiative by Reynolds – and his attempt to conceive an ‘offspring’ with Bataille through a highly questionable and outrageous Deleuzian approach – Transversal Poetics is itself subtly transformed. It casts a powerful light on the urban milieu surrounding the New Globe (Southwark, the City of London) as it brings the era of neoliberal financialization to a close. A lobster-city that combines both ‘central place’ and the ‘maritime’ qualities (as identified by Christaller), London turns out to be the perfect location for the demolition of the Deleuzian taboo against the sacrificial.     

I,that am curtailed

ABSTRACT

The essay investigates desire in Shakespeare’s Richard III as connected to Deleuze and Guattari’s line of flight and war machine. By following the drawing of the line of flight of betrayal and the setting of Richard’s war machine, and by investigating the constitution of his character as a Body without organs, it traces the production of the plane of immanence of a differential subjectivity where desire is free to become.     

‘It Does Not Mean Me,But a Supposed Person’: Browning,Dickinson, and the Dramatic Lyric

Although scholars have explored the importance of the works of Elizabeth Barrett Browning to Emily Dickinson, very little research exists on the implications of her admiration for Robert Browning. Within the context of Browning’s nineteenth-century US reception, this essay considers the profound and seminal effect this writer had on Dickinson’s vocation as a poet and her understanding of poetry. Focusing in particular on Dickinson’s reading and response to Browning’s Men and Women (1855), it explores connections between Browning’s dramatic lyrics and Dickinson’s creation of dramatic speakers and situations. Developing earlier scholarship on Dickinson’s use of personae and the influence of drama and performance on her works, this essay argues that Dickinson found in Browning’s poetry distancing strategies that complicated the notion of the lyric as a form of personal address and/or biographical revelation. Rather than granting the reader access to the poet’s interiority or corporeal presence, Dickinson, like Browning, creates ‘supposed persons’ who speak in a confidential, intimate manner about particular events and incidents. Following Browning, Dickinson constructs speakers whose identities are divided, contradictory, and fragmented, and, in so doing, she further impersonalizes the personal lyric by creating the possibility of a difference between what her speakers say and what her poems mean.     

Science,Critique, Authority,and Accountability

This essay is written in response to Fujimura and Holmes’s piece “Staying the Course,” published in the December 2019 special issue of Sociological Forum—Resistance in the Twenty-First Century     

‘Without Being Walt Whitman’: Vicente Huidobro,Whitman, and the Poetics of Sight

The Chilean vanguardista poet Vicente Huidobro singlehandedly inaugurated the Spanish-language avant-gardes with his 1918 poem Ecuatorial [Equatorial], and remained a dynamic and controversial global figure until his death in 1948. This essay demonstrates how Huidobro appropriated Walt Whitman’s ‘Salut au Monde’ into this inaugural poem, taking from the US poet an elevated, comprehensive poetics of sight. But Whitman’s all-seeing aesthetic seriously threatened Huidobro’s own ethics and avant-garde poetic philosophy — Creationism — leading the Chilean to reject Whitman and this poetic vision in his 1931 Altazor. If Whitman’s poetic speaker could ‘contain multitudes’, seeing the whole world in instant juxtaposition, Huidobro’s ideal Creationist poet must instead empty himself, to create anew. Finally, this textual and historical confrontation reveals not only how Whitman brought his unifying vision to bear on his nation’s Civil War, but also how the aging Huidobro, facing World War II and the imperialist shadow of the US, wrote back to Whitman to qualify and clarify what this vision might mean for ‘America’.     

Black Lives/White Backgrounds: Claudia Rankine’s Citizen: An American Lyric and Critical Race Theory

How do you criticise a hierarchical racial formation that is rendered nearly invisible by its colour (white) and positioning (background) in the contemporary, so-called colour-blind or post-racial US? The reading of Claudia Rankine’s Citizen: An American Lyric that this essay will undertake seeks to offer a response to this question utilising some key insights from Critical Race Theory (CRT). As they are understood here, both CRT and Citizen offer counter-stories by ‘call[ing] out’ to what you ‘don’t see’, specifically to America’s racial formations so as to promote colour-consciousness and an anti-racist critique. Beginning with a discussion of the relationship between literary and legal narratives, followed by two sections on Rankine’s rhetorical strategies, this essay ends by closely reading her texts about Trayvon Martin, who was murdered on 26 February 2012.     

Literary clinical practice: desire,depression and toxic masculinity in Hamlet

ABSTRACT

This essay introduces the notion of a literary clinical practice for which it remains essential to continue to consider those texts that open up a place for a readership, or audience, or even a civilization to consider the endlessly generative failure of its literature to write mental health. Concerned with mental illness that is an effect of language on the subject, the body, and of the enigma of the truth as cause, psychoanalysis is the crucial interlocutor for any literary clinical concern with the maladies of literature and society. In order to re-assess the utility of Shakespeare’s Hamlet to contemporary problems such as depression – perhaps the dominant symptom of our time – this essay attempts a reconsideration of Jacques Lacan’s famous seminar on Hamlet from the perspective of the contemporary clinic of the Lacanian orientation in psychoanalysis led by Jacques-Alain Miller.     

Actors,others, simulacra: a Deleuzean minority report on the early modern Dubrovnik stage

ABSTRACT

A playwright in the minor and marginal culture of renaissance Ragusa, Marin Dr?i? (1508–1557) has often been compared to Shakespeare, despite the obvious impossibility of influence in either direction. There is however an aspect of Dr?i?’s legacy which has received a scarce critical interest in Croatia, although it could also be discussed along the lines of Shakespeare studies: early modern Dubrovnik acting practice, culture, and style. Dr?i?’s actual and meta-theatrical treatment of acting will here be interpreted through the lenses of Gilles Deleuze’s essay ‘One less manifesto’. In this essay, Deleuze expands his notion of ‘the minor’, arguing for a kind of acting practice that would rely on variation, movement, becoming, and a perpetual linguistic deformation, forces that hinder absorption into the discourse of ‘the major’. I will further suggest that Marin Dr?i?’s exposure of the anti-theatrical prejudice of his contemporaries – clothed in a mock-version of Genesis and elaborated in the prologue of his comedy Uncle Maroje – could be read as an exemplary inversion of Plato’s method of argumentation that makes a Deleuzian case for the actor as the ultimate, troubling Other, the simulacrum of true being, a promiscuous and metamorphic kin of marionettes, animals, and women.     

It gets better ... all in good time: messianic rhetoric and a political theology of social control

Working from Walter Benjamin’s “On the Concept of History,” this essay examines the recent interest in the messianic and messianicity in continental philosophy. To ground its discussion, the essay analyzes two recent cultural examples of messianic rhetoric – Barack Obama’s 2008 and 2012 presidential campaigns and Dan Savage’s 2010 It Gets Better Project, in order to explore hidden theological dimensions of recent cultural and political discourse in the US. The essay argues that both examples showcase a reliance on the language of the messianic promise as a means of creating a docile public focused on imagined future liberation rather than a critical confrontation of the often violent and disturbing realities of the now. At the same time that the essay problematizes messianic rhetoric’s connection to deeply entrenched narratives of “progress,” the essay also works to posit alternative visions of the messianic and to question whether it is possible to redefine the concept of messianism without relying on a narrative of progress which is outdated, irresponsible, and likely violent. In the end, the essay explores how the language of queer theory, with its resistance to traditional logics of future-oriented (re)production, might provide a useful vocabulary for such a reimagining of the messianic.     

Memoir and the Sociological Imagination1

This essay responds to Peter J. Stein’s 2019 memoir, A Boy’s Journey: From Nazi‐Occupied Prague to Freedom in America, and his December 2020 essay in The Forum, “Biography, Trauma, Holocaust, and the Sociological Eye” (Stein 2020). Underscoring the resonance between sociology and literature, I use Stein’s work as a springboard for identifying four parallels between memoir’s capacities and sociology’s: (1) capturing the role and weight of contingency in human life, (2) offering audiences a window onto worlds they cannot experience firsthand, (3) cultivating “humane sympathy” (Abbott 2007), especially by probing “meta‐feelings” (Pugh 2013), and (4) fueling the imagination.     

Feminist Readings on Abu Ghraib: Introduction

This article examines feminist responses to mainstream media coverage of female terrorists in West Germany during 1977. Women in left-wing terrorist groups like the Red Army Faction (RAF) and ‘Movement 2. June’ (‘Bewegung 2. Juni’) inspired a gendered discourse reflecting a cultural unease about women participating in political violence, in which the media propagated notions that posited female terrorists as ‘unnatural’ women. This analysis demonstrates how different ‘Alltagstheorien’ (everyday or common sense theories) on female terrorists we find in West German media publications in the 1970s and 1980s served as a springboard for West German feminist activists to examine arguments about violence as legitimate means in their own political communities. This essay begins by briefly outlining key feminist positions on political violence that have made invisible the complex debates taking place in the 1970s. The second part of the essay uses images of female terrorists circulated by the West German media, such as the newsmagazine Der Spiegel (The Mirror), to contextualize the ‘Alltagstheorien’ the magazine propagated in an article covering RAF actions in 1977. The third and main part of the essay then examines the responses this and other articles elicited from contemporaneous feminist movement publications.     

Love,Will and Becoming in Vyacheslav Ivanov and Mikhail Bakhtin

ABSTRACT

The paper discusses the philosophical underpinnings of the ideas of the poet Vyacheslav Ivanov and the philosopher Mikhail Bakhtin. Compared mostly with regard to the Dostoevskian novel, these two authors prove to be connected by a more complex intellectual relationship, as the commentators of Bakhtin’s Collected Works have demonstrated. The present paper continues this broad-context discussion by revealing the principal difference between Ivanov’s and Bakhtin’s worldviews as it stems from the different orders of dependence of love and volition. The framework for comparison is provided by Max Scheler’s essay ‘Love and Cognition’. The primacy of the will causes constant becoming of the human subject in Ivanov’s poetic universe, mostly presented as self-surpassing. The primacy of love in Bakhtin’s philosophy of the deed results in the ‘becoming’ of the other, primarily in the form of the growing value of the beloved, rather than in the form of his or her internal existential transformation.     

Productive uses of nostalgia in contemporary Slovak fiction: Veronika Šikulová’s and Maroš Krajňak’s experiments with generational memory

This essay examines fictional uses of generational memory and life writing in Veronika ?ikulová’s Miesta v sieti (Dwellings in the web) and Maro? Krajňak’s Carpathia and argues that the representations of the past in these contemporary Slovak novels provide alternatives to pernicious nationalist forms of nostalgia that have been of particular concern in the country in recent years, especially in the aftermath of the 2016 election, in which the neo-Nazi People’s Party Our Slovakia (LSNS) won 8% of the vote and seats in the Slovak Parliament. The essay examines representations of time and pastoral borderland spaces in each novel, arguing that the writers’ treatment of nostalgia challenges existing theories of the phenomenon as a form of maladaptation. The novels ultimately suggest a productive compromise between restorative and reflective forms of nostalgia, which is a central distinction in Svetlana Boym’s influential theory of post-socialist nostalgia. The novels’ ultimate achievement is that they avoid the extremes of sentimentality and irony in their treatment of the past and suggest visions of collective identity that provide a counterpoint to nationalist idealizations of the past.     

Tagging the spectral mobility of the stateless body: Deleuze,stasis, and graffiti

Following recent work by Eleanor Kaufman, this essay reads Deleuze as a thinker of stasis and immobilization in order to think through the fantasy of the refugee as an exemplary figure of mobility. Working through Difference and Repetition, I argue that Deleuze’s understanding of space emerges from a concern with both immobility and the singular concept of temporality articulated in his concept of the “third synthesis of time.” The essay then turns to two contemporary instances of stateless people immobilized by very different forms of nation state sovereignty in Tunisia and the West Bank. I examine graffiti in both locations and develop a concept of tagging, which considers both the graffiti tag and the digital tag as intersecting technologies of distributed social networks that serve to freeze and make visible the stasis of the stateless person.     

Is the subaltern resilient? Notes on agency and neoliberal subjects

ABSTRACT

This essay engages the question of where Gayatri Spivak’s understanding of subalternity is to be located today, and it does so by first establishing a brief genealogy of thinking the outside of modern, capitalist economic and cultural modes of production. This genealogy reaches back to the classic Marxist figure of the lumpenproletariat, moves through its postcolonial reappropriation by Fanon as well as Gramsci’s original articulation of the subaltern, and arrives at Subaltern Studies’ re-articulation of Gramsci’s notion of the subaltern as well as Spivak’s critical dialogue with Subaltern Studies. This first part of the essay lays the ground for an argument that pertains to the relation between subalternity, agency, resistance, and resilience, within a context of neoliberalism in which agency is particularly salient as a way of accounting for the world. The discussion on subalternity and agency builds on Spivak’s critical engagement with the task of ‘giving voice’, as well as on Saba Mahmood’s work on the conceptual entanglement of agency and resistance. This leads me to the central argument that we may be witnessing a shift in the conceptualization of agency, which is particularly salient to a contemporary understanding of subalternity and the shift that the ‘new subaltern’ [Spivak, G., 2012. The new subaltern: a silent interview. In: V. Chaturvedi, ed. Mapping subaltern studies and the postcolonial. London: Verso] indicates: in current neoliberal times, it is perhaps less agency-as-resistance that informs an understanding of the subaltern’s agency, but rather agency-as-resilience. The essay concludes with a critique of resilience.     

Expanding black subjectivities in Toni Morrison’s Song of Solomon and Chimamanda Ngozi Adichie’s Americanah

Deploying the call-and-response mode as the artistic premise of her fiction, foremost African-American author, Toni Morrison, has persistently called in her criticism for a participatory, intellectual and political, engagement with her position on and concerns around blackness. Morrison’s ideas are being critiqued and expanded to reflect contemporary ‘African’ attitudes and perspectives within the contemporary Afrodiasporic writing of critically acclaimed emergent author, Chimamanda Ngozi Adichie. In particular, Adichie has, in conversation and in her most recent fiction, suggested that Africans (in the diaspora) articulate themselves differently from African-Americans. Problematized and politicized thus as contested, rather than universally accepted, subjective terrain, blackness more significantly points to the diversity and dynamism of black culture and testifies, in the current socio-political/-historical moment, to recognition of the enduring complexity of black subjectivity. In a close, comparative reading of Morrison’s celebrated novel, Song of Solomon (1977), and Adichie’s popular text, Americanah (2013) – both recipients of the National Book Critics Circle award, this essay offers a fresh, specifically transatlantic and transnational, analysis of Morrison’s African-American views on blackness through the contemporary, Afrodiasporic lens of Adichie. Guided by the dialogic call-and-response mode, and underpinned by cultural, race and diaspora theory, the essay suggests and explores the ways in which Americanah speaks (back) to Morrison’s Song of Solomon, interrogating ontologies of race, particularly blackness, through an ‘Africanness’ that takes cognizance of culturally specific and context-responsive, globalized configurations of female subjectivity in particular. In this way, this essay seeks to expand understandings of, and discussions around, black issues and black life in order not just to resituate the relevance of black cultural ontologies but, through comparative engagement with the ‘politics’ of blackness, to revive in the political consciousness and imagination their crucial significance.     

Maisie’s Spasms: Transferential Poetics in Henry James and Wilfred Bion

ABSTRACT

This essay offers a reading of Henry James’s midcareer novel What Maisie Knew (1897) as a study in group psychology. Maisie, James’s child heroine, is at the center of an expanding and transforming family group that includes various governesses as well as her divorced parents’ multiple new partners. I set James’s novel beside Bion’s Experiences in Groups and Other Papers (1961) and its Kleinian approach to the continuities and discontinuities between individual and group experience. Rather than insisting (as Freud tends to) only on a narrative of individuation and adaptation, Bion emphasizes the necessity and difficulty an individual inevitably experiences in making contact with the emotional life of the group in which she lives. James casts the frustrating necessity of group experience in entirely theatrical terms, figuring Maisie from the start as a spectator to, and eventually an active participant in, the affective circuits of those around her. In my reading the transferential poetics of James and Bion make available the affective, transindividual nature of knowing as a contingent activity that takes place between persons and other objects. The essay concludes by unfolding some of the surprising televisual aspects of James’s late style.     

Do today’s sociologists really appreciate Weber’s essay The Protestant Ethic and the Spirit of Capitalism?

It is noted that Max Weber is held in very high regard by the majority of contemporary sociologists, while his essay, The Protestant Ethic and the Spirit of Capitalism, is generally considered his most important as well as his most famous work. However attention is drawn to the marked contradiction between the practice of today’s sociologists in routinely heaping praise on this essay and the fact that their own self‐confessed theoretical statements constitute a direct rejection of Weber’s approach. This contradiction is illustrated by demonstrating that although The Protestant Ethic is essentially an examination of the role of motives in human action the concept of motive is effectively missing from contemporary sociology. A possible explanation for this apparent contradiction is then considered in the form of the claim that those theoretical positions favoured by contemporary sociologists could be considered as ‘developed out of’ or ‘descended from’ Weber’s theory of ‘motivational understanding’. This however is shown to be an untenable claim, given that the vocabulary of motives perspective, the treatment of motives as reasons, and rational choice theory all represent straightforward rejections of Weber’s position. Consequently it is concluded that there remains an unresolved and largely unrecognised contradiction between the iconic status accorded to Weber’s essay by contemporary sociologists and their own very obvious rejection of his theoretical approach.