Susreti sa ksenotkivom Ryle, Simon
Umjetnost riječi,
12/2023, Letnik:
67, Številka:
2
Paper
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Ovaj rad uvodi pojam “ksenotkiva” analizirajući tri poznata romana koja se bave konzumacijom mesa: Meso (Meat) Josepha D’Laceyja (2008), Elizabeth Costello J. M. Coetzeeja (2003) i Vegetarijanku (The ...Vegetarian) Han Kang (2007) te pokazuje kako ksenotkivo u tim romanima predstavlja problematičan susret s abjektnom tjelesnom materijom. Propitujući klasičnu razliku između biosa i zoē (“politički” i “goli” život) kako ju je opisao Giorgio Agamben, u radu se analizira ksenotkivo kao neizreciv i pogledu nepristupačan oblik tjelesnosti koji je nasilno isključen iz diskursa infrastrukturama i epistemama konzumiranja mesa u smislu Foucaultovih kulturoloških struktura znanja (épistémè). U radu se isto tako pokazuje kako su industrijska poljoprivreda i meso temeljni način nametanja te podjele tkiva u raznim ekonomskim i kulturnim sferama te kako čak i u novijoj materijalističkoj filozofiji meso funkcionira kao jedan od najdublje upisanih načina ušutkivanja jezovitog (engl. uncanny) zova ksenotkiva. Polazeći od Deleuzeova koncepta “estetske senzacije”, ovaj rad pokazuje kako su dezorijentacijski susreti sa ksenotkivom u romanima D’Laceyja, Coetzeeja i Han primjer političke i etičke poetike tijela u nastajanju.
Oil, like other fossil fuels, permeates every aspect of human
existence. Yet it has been largely ignored by cultural critics,
especially in the context of the Global South. Seeking to make
visible ...not only the pervasiveness of oil in society and culture
but also its power, Oil Fictions stages a critical
intervention that aligns with the broader goals of the energy
humanities.
Exploring literature and film about petroleum as a genre of
world literature, Oil Fictions focuses on the ubiquity of
oil as well as the cultural response to petroleum in postcolonial
states. The chapters engage with African, South American, South
Asian, Iranian, and transnational petrofictions and cover topics
such as the relationship of colonialism to the fossil fuel economy,
issues of gender in the Thermocene epoch, and discussions of
migration, precarious labor, and the petro-diaspora. This unique
exploration includes testimonies of the oil encounter-through
memoirs, journals, and interviews-from a diverse geopolitical grid,
ranging from the Permian Basin to the Persian Gulf.
By engaging with non-Western literary responses to petroleum in
a concentrated, sustained way, this pathbreaking book illuminates
the transnational dimensions of the discourse on oil. It will
appeal to scholars and students working in literature and science
studies, energy humanities, ecocriticism, petrocriticism,
environmental humanities, and Anthropocene studies.
In addition to the editors, the contributors to this volume
include Henry Obi Ajumeze, Rebecca Babcock, Ashley Dawson, Sharae
Deckard, Scott DeVries, Kristen Figgins, Amitav Ghosh, Corbin
Hiday, Helen Kapstein, Micheal Angelo Rumore, Simon Ryle, Sheena
Stief, Imre Szeman, Maya Vinai, and Wendy W. Walters.
Oil, like other fossil fuels, permeates every aspect of human existence. Yet it has been largely ignored by cultural critics, especially in the context of the Global South. Seeking to make visible ...not only the pervasiveness of oil in society and culture but also its power, Oil Fictions stages a critical intervention that aligns with the broader goals of the energy humanities.Exploring literature and film about petroleum as a genre of world literature, Oil Fictions focuses on the ubiquity of oil as well as the cultural response to petroleum in postcolonial states. The chapters engage with African, South American, South Asian, Iranian, and transnational petrofictions and cover topics such as the relationship of colonialism to the fossil fuel economy, issues of gender in the Thermocene epoch, and discussions of migration, precarious labor, and the petro-diaspora. This unique exploration includes testimonies of the oil encounter—through memoirs, journals, and interviews—from a diverse geopolitical grid, ranging from the Permian Basin to the Persian Gulf.By engaging with non-Western literary responses to petroleum in a concentrated, sustained way, this pathbreaking book illuminates the transnational dimensions of the discourse on oil. It will appeal to scholars and students working in literature and science studies, energy humanities, ecocriticism, petrocriticism, environmental humanities, and Anthropocene studies.In addition to the editors, the contributors to this volume include Henry Obi Ajumeze, Rebecca Babcock, Ashley Dawson, Sharae Deckard, Scott DeVries, Kristen Figgins, Amitav Ghosh, Corbin Hiday, Helen Kapstein, Micheal Angelo Rumore, Simon Ryle, Sheena Stief, Imre Szeman, Maya Vinai, and Wendy W. Walters.
This article analyses the relation of the printing press and theories of media and writing technology to Shakespearean poetics. It explores listening and alphabetic letters in Shakespeare’s language, ...drawing from the criticism of Joel Fineman and Jean-Luc Godard’s King Lear (1987), as well as instances in early modern culture in which language might seem to fragment or separate from the body, including the exegetical practice known as ‘text crumbling’ and recusant exorcisms. Proposing a media archaeology of aural and textual fragmentation, the article considers how and why Shakespeare’s attention to ears centres on engagement with the upheavals of early modern typographic print technology.
Minor Shakespeares Ryle, Simon
Journal for cultural research,
01/2019, Letnik:
23, Številka:
1
Journal Article
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This introduction to the journal special edition Minor Shakespeares contextualises the articles which follow by exploring Deleuze and Guattari's concept of 'minor literature' as it helps to read and ...reconceptualise Shakespearean drama and poetics, as well as the range of global Shakespeares. It is illustrated how recent paths taken by Deleuzian scholarship in the fields of literary and film criticism, ontology, vitalism, sexuality studies, ecocriticism and postcolonialism open potentially new lines of enquiry into Shakespeare, and how a Deleuzian/Deleuzoguattarian approach can combine openness to Shakespearean concerns with the bringing of Shakespeare into dialogue with pressing contemporary political questions.
In Shakespeare's language, violent or erotic tension is often associated with uncertain signifying marks and stains. Frequently these marks link together questions of interiority, destiny and ...futurity. This paper explores how Akira Kurosawa's film noir The Bad Sleep Well (1960) reworks the stains of Hamlet to explicate post-World War II Japanese corruption. In appropriating Hamlet's stains to cinematic technique, Kurosawa illustrates how modernity has perceived a reflection of its own epistemology in Shakespeare's language. Lacan's theory of the stain, and the related aesthetic theories of Heidegger, help in understanding the issues of futurity and representation that Kurosawa draws from Hamlet. More recently, Lee Edelman's queer reading of Hamlet exemplifies the way that Shakespeare continues to be a site of exploration in - and for - modernity. Edelman positions the play's futurity as a repressive defence against the queer. As a pre-emptive answer of sorts, Kurosawa's cinematography exemplifies the radically queer futures of Shakespeare's stains.
FRACTALS IN ASSASIN'S CREED Vestić, Victoria; Ryle, Simon
Zbornik radova Filozofskog fakulteta u Splitu (Online),
2019
12
Journal Article
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This essay explores the fractal narrative structure of the popular video game Assassin’s Creed (2008). It theorizes a mode of fractal analysis of narration. It explores the existence of a political ...dimension to fractal aesthetics in Assassin’s Creed in particular, which it claims is alert to important biopolitical insights concerning the situation of contemporary digital power. Drawing from Timothy Morton’s analysis of hyperobjects, it argues that fractals pertain to vital contemporary political questions. Analysing Steven Shaviro’s concept of modulation, the essay finds fractal analysis to be alert to contemporary questions of digital biopolitics. The essay claims that the fractal narrative structure of Assassin’s Creed constitutes an innovative recognition of the biopolitics of video game playing.
Unlike the lavish court masques of Inago Jones, and the increasing complexity of props, backdrops, lighting, and sound effects within the enclosed space of the proscenium arch of eighteenth- and ...nineteenth-century productions, the bare boards of early modern theatres such as The Globe, which jut out into the audience as empty platforms of potential, demand the meaning of the play-space be defined by the poetry of the players.
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