Erin Graff Zivin – författare

While Jews figure in the work of many modern Latin American writers, the questions of how and to what end they are represented have received remarkably little critical attention. Helping to correct this imbalance, Erin Graff Zivin traces the symbolic presence of Jews and Jewishness in late-nineteenth- through late-twentieth-century literary works from Argentina, Brazil, Peru, Mexico, Colombia, and Nicaragua. Ultimately, Graff Zivin’s investigation of representations of Jewishness reveals a broader, more complex anxiety surrounding difference in modern Latin American culture.In her readings of Spanish American and Brazilian fiction, Graff Zivin highlights inventions of Jewishness in which the concept is constructed as a rhetorical device. She argues that Jewishness functions as a wandering signifier that while not wholly empty, can be infused with meaning based on the demands of the textual project in question. Just as Jews in Latin America possess distinct histories relative to their European and North American counterparts, they also occupy different symbolic spaces in the cultural landscape. Graff Zivin suggests that in Latin American fiction, anxiety, desire, paranoia, attraction, and repulsion toward Jewishness are always either in tension with or representative of larger attitudes toward otherness, whether racial, sexual, religious, national, economic, or metaphysical. She concludes The Wandering Signifier with an inquiry into whether it is possible to ethically represent the other within the literary text, or whether the act of representation necessarily involves the objectification of the other.

While Jews figure in the work of many modern Latin American writers, the questions of how and to what end they are represented have received remarkably little critical attention. Helping to correct this imbalance, Erin Graff Zivin traces the symbolic presence of Jews and Jewishness in late-nineteenth- through late-twentieth-century literary works from Argentina, Brazil, Peru, Mexico, Colombia, and Nicaragua. Ultimately, Graff Zivin’s investigation of representations of Jewishness reveals a broader, more complex anxiety surrounding difference in modern Latin American culture.

In her readings of Spanish American and Brazilian fiction, Graff Zivin highlights inventions of Jewishness in which the concept is constructed as a rhetorical device. She argues that Jewishness functions as a wandering signifier that while not wholly empty, can be infused with meaning based on the demands of the textual project in question. Just as Jews in Latin America possess distinct histories relative to their European and North American counterparts, they also occupy different symbolic spaces in the cultural landscape. Graff Zivin suggests that in Latin American fiction, anxiety, desire, paranoia, attraction, and repulsion toward Jewishness are always either in tension with or representative of larger attitudes toward otherness, whether racial, sexual, religious, national, economic, or metaphysical. She concludes The Wandering Signifier with an inquiry into whether it is possible to ethically represent the other within the literary text, or whether the act of representation necessarily involves the objectification of the other.

The Marrano Specter pursues the reciprocal influence between Jacques Derrida and Hispanism. On the one hand, Derrida's work has engendered a robust conversation among philosophers and critics in Spain and Latin America, where his work circulates in excellent translation, and where many of the terms and problems he addresses take on a distinctive meaning: nationalism and cosmopolitanism; spectrality and hauntology; the relation of subjectivity and truth; the university; disciplinarity; institutionality.Perhaps more remarkably, the influence is in a profound sense reciprocal: across his writings, Derrida grapples with the theme of marranismo, the phenomenon of Sephardic crypto-Judaism. Derrida's marranismo is a means of taking apart traditional accounts of identity; a way for Derrida to reflect on the status of the secret; a philosophical nexus where language, nationalism, and truth-telling meet and clash in productive ways; and a way of elaborating a critique of modern biopolitics. It is much more than a simple marker of his work's Hispanic identity, but it is also, and irreducibly, that.The essays collected in The Marrano Specter cut across the grain of traditional Hispanism, but also of the humanistic disciplines broadly conceived. Their vantage point—the theoretical, philosophically inflected critique of disciplinary practices—poses uncomfortable, often unfamiliar questions for both hispanophone studies and the broader theoretical humanities.

The Marrano Specter pursues the reciprocal influence between Jacques Derrida and Hispanism. On the one hand, Derrida's work has engendered a robust conversation among philosophers and critics in Spain and Latin America, where his work circulates in excellent translation, and where many of the terms and problems he addresses take on a distinctive meaning: nationalism and cosmopolitanism; spectrality and hauntology; the relation of subjectivity and truth; the university; disciplinarity; institutionality.Perhaps more remarkably, the influence is in a profound sense reciprocal: across his writings, Derrida grapples with the theme of marranismo, the phenomenon of Sephardic crypto-Judaism. Derrida's marranismo is a means of taking apart traditional accounts of identity; a way for Derrida to reflect on the status of the secret; a philosophical nexus where language, nationalism, and truth-telling meet and clash in productive ways; and a way of elaborating a critique of modern biopolitics. It is much more than a simple marker of his work's Hispanic identity, but it is also, and irreducibly, that.The essays collected in The Marrano Specter cut across the grain of traditional Hispanism, but also of the humanistic disciplines broadly conceived. Their vantage point—the theoretical, philosophically inflected critique of disciplinary practices—poses uncomfortable, often unfamiliar questions for both hispanophone studies and the broader theoretical humanities.

How do we read after the so-called death of literature? If we are to attend to the proclamations that the representational apparatuses of literature and politics are dead, what aesthetic, ethical, and political possibilities remain for us today? Our critical moment, Graff Zivin argues, demands anarchaeological reading: reading for the blind spots, errors, points of opacity or untranslatability in works of philosophy and art.Rather than applying concepts from philosophy in order to understand or elucidate cultural works, the book exposes works of philosophy, literary theory, narrative, poetry, film, and performance art and activism to one another. Working specifically with art, film, and literature from Argentina (Jorge Luis Borges, Juán José Saer, Ricardo Piglia, César Aira, Albertina Carri, the Internacional Errorista), Graff Zivin allows such thinkers as Levinas, Derrida, Badiou, and Rancière to be inflected by Latin American cultural production. Through these acts of interdiscursive and interdisciplinary (or indisciplinary) exposure, such ethical and political concepts as identification and recognition, decision and event, sovereignty and will, are read as constitutively impossible, erroneous. Rather than weakening either ethics or politics, however, the anarchaeological reading these works stage and demand opens up and radicalizes the possibility of justice.

How do we read after the so-called death of literature? If we are to attend to the proclamations that the representational apparatuses of literature and politics are dead, what aesthetic, ethical, and political possibilities remain for us today? Our critical moment, Graff Zivin argues, demands anarchaeological reading: reading for the blind spots, errors, points of opacity or untranslatability in works of philosophy and art.Rather than applying concepts from philosophy in order to understand or elucidate cultural works, the book exposes works of philosophy, literary theory, narrative, poetry, film, and performance art and activism to one another. Working specifically with art, film, and literature from Argentina (Jorge Luis Borges, Juán José Saer, Ricardo Piglia, César Aira, Albertina Carri, the Internacional Errorista), Graff Zivin allows such thinkers as Levinas, Derrida, Badiou, and Rancière to be inflected by Latin American cultural production. Through these acts of interdiscursive and interdisciplinary (or indisciplinary) exposure, such ethical and political concepts as identification and recognition, decision and event, sovereignty and will, are read as constitutively impossible, erroneous. Rather than weakening either ethics or politics, however, the anarchaeological reading these works stage and demand opens up and radicalizes the possibility of justice.