New Critical Humanities – serie

Putting the New Materialist figure of diffraction to use in a set of readings – in which cultural texts are materially read against their contents and their themes, against their readers or against other texts – this volume proposes a criticalintervention into the practice of reading itself. In this book, reading and reading methodology are probed for their materiality and re-considered as being inevitably suspended between, or diffracted with, both matter and discourse. The history of literary and cultural reading, including poststructuralism and critical theory, is revisited in a new light and opened-up for a future in which the world and reading are no longer regarded as conveniently separate spheres, but recognized as deeply entangled and intertwined. Diffractive Reading ultimately represents a new reading of reading itself: firstly by critiquing the distanced perspective of critical paradigms such as translation and intertextuality, in which texts encountered, processed or otherwise subdued; secondly, showing how all literary and cultural readings represent different ‘agential cuts’ in the world-text-reader constellation, which is always both discursive and material; and thirdly, the volume materializes, dynamizes and politicizes the activity of reading by drawing attention to reading’s intervention in, and (co)creation of, the world in which we live.

The Ends of Critique re-examines the stakes of critique in the 21st century. In view of increasingly complex socio-political realities and shifts in a fully globalized world, the roles and manners of critique also change. The volume offers an unprecedented re-examination of critique under those conditions of global entanglement and asymmetrical relations from a diversity of scholarly perspectives within the humanities. All contributions move the notion of critique into more diverse traditions than the Eurocentric, Kantian tradition and emphasize the need to attend to a plurality of critical perspectives. The volume’s reflections move critique toward a situated, perspectival, and entangled critical stance, with interventions from decolonial and systemic, deconstructive and (post)human(ist) perspectives. In that way, the volume develops a decidedly different approach to critique than recent considerations of critique as post-critique (Felski) or those endebted to Frankfurt School thought and liberal theories of democracy. It is the first full-length research publication of the interdisciplinary research network Terra Critica.

This edited collection builds on recent strands in philosophy that promote a critical conceptual return to the material world outside human culture. Through the lens of literary analysis and theory, it conceptualizes the potential of New Materialism as a timely mode of critique toward the current human condition and its effect on literature and the present. Organized around the key New Materialist concepts of entanglement and speculation, the chapters by renowned literary scholars and theorists approach literary texts and theory from onto-epistemological and speculative realist perspectives. Both concepts critically bespeak our precarious relation to matter during the Anthropocene. Entanglement analyzes this human inference with the material environment and its consequences, while speculation makes palpable our cognitive limits in grasping these consequences and our continued obligation to try to do so. Literature emerges as a site where entanglement and speculation, as well as their alignment, are intensively presented and negotiated. In highlighting these connections, the chapters in this collection bring entanglement and speculation (theory) together to form a critical literary theory fit for the Anthropocene.

Through a diffractive reading of seven English novels, Daniela Keller redefines the deeply intertwined and continuously developing relationship between England and Germany.The relationship between England and Germany has fluctuated between friendship and animosity on both sides throughout the centuries and Brexit has driven another wedge between the two countries. This study shows how writers have employed physical phenomena, such as quantum entanglement, to move beyond an alleged fixed binary opposition between the nations. In novels, such as John le Carré’s The Spy Who Came In from the Cold or Alison Moore’s The Lighthouse, our understandings of nation and national identity emerge as more flexible and inextricable from their opponent Others. The physical phenomena and optical metaphors of reflection, refraction, and diffraction are applied to hone the differences between various kinds of binary relations, such as England and Germany or physics and fiction. Diffraction and diffractive reading, inspired by Karen Barad, deliver the most accurate and progressive methods of reading literature because they best capture and acknowledge the complexity of stubbornly dualistic mindsets. They also draw attention to the responsibility of readers and their role in constructing Anglo-German identities through every act of reading.

This collection elaborates contemporary possibilities for, and evaluates the concept of, contestation, highlighting tensions that emerge with thinking about the concept itself, various modes of contestation, and the terminology that surrounds the concept of contestation. Contestation often carries with it the air of liberation or emancipation—of an egalitarian struggle pushing back against forces of domination, subjugation, and hierarchy. Coming from across the critical humanities and social sciences, the contributors focus on conceiving of contestation in such a way that those struggles do not in the end reduce themselves, theoretically or practically, to further exclusion. Must fighting on behalf of one cause or population necessarily involve the exclusion of another? Is a horizon of universal emancipation conceivable for contestation? What distinguishes critique from criticism? To flesh out the notion of contestation in this light, the contributors consider the different potential modes of contestation, the domains of analysis within which contestation can occur, and the productiveness of understanding contestation as a form of engagement.The chapters bring perspectives that are theoretical and practical, philosophical and historical, engaging a variety of theories and practices, issues of identity to racial politics and from cultural criticism to conceptions of historiography. The volume itself exhibits contestation.

In The Cinema of Social Death: Blackhood At-Large, Tryon P. Woods argues that cinematic counter-narratives to society’s deep-seated racist culture, while claiming to advance racial justice, fail to escape the trappings of anti-blackness and instead function to disguise a parasitic and antagonistic relationship toward blackness, rather than expose how the paradigm works.Through analyses of a selection of purportedly anti-racist narratives from documentarian Liz Garbus and a trio of independent black filmmakers, Tanya Hamilton, Haile Gerima, and Spike Lee, Woods demonstrates the precarious nature of telling stories of racial justice without falling into the contradictory trap of imposing antiblack notions of gender and sexuality. Contrary to the prevalent sentiment that these visual narratives disrupt and unravel the suffering, lack, and pathology attached to blackness, Woods posits that the films being examined are detrimental to black liberation, and thus, to human deliverance. As such, this book’s chief concern is in how our efforts to unravel the problems of the world become part of the problem. In the process, Woods highlights the trap of visual culture and its racial discourse as it obfuscates the modern era’s assault on human reciprocity and connection.

On what basis can we establish an alternative to the unifying of cultures brought about by economic globalization? When ideas, like objects and words, can be translated and marketed everywhere, what forms of critique are available? Straddling the fields of political philosophy, comparative literature, animal studies, global studies, and political economy, Untranslating Machines proposes to this end a weakened, defective concept of “untranslatability.” The analytic frame of Jacques Lezra’s argument is rooted in Marx, Derrida and Wittgenstein. He moves historically from the moment when “translation” becomes firmly wed to mercantilism and to the consolidation of proto-national state forms, in European early modernity; to the current moment, in which the flow of information, commodities and value-creation protocols among international markets produces the regulative fantasy of a global, coherent market of markets. In a world in which translation and translatability have become a means and a model for the consolidation of a global cultural system, this book proposes an understanding of untranslatability that serves to limit the articulation between a globalized capitalist value-system and the figure and techniques of translation.

On what basis can we establish an alternative to the unifying of cultures brought about by economic globalization? When ideas, like objects and words, can be translated and marketed everywhere, what forms of critique are available? Straddling the fields of political philosophy, comparative literature, animal studies, global studies, and political economy, Untranslating Machines proposes to this end a weakened, defective concept of “untranslatability.” The analytic frame of Jacques Lezra’s argument is rooted in Marx, Derrida and Wittgenstein. He moves historically from the moment when “translation” becomes firmly wed to mercantilism and to the consolidation of proto-national state forms, in European early modernity; to the current moment, in which the flow of information, commodities and value-creation protocols among international markets produces the regulative fantasy of a global, coherent market of markets. In a world in which translation and translatability have become a means and a model for the consolidation of a global cultural system, this book proposes an understanding of untranslatability that serves to limit the articulation between a globalized capitalist value-system and the figure and techniques of translation.

On what basis can we establish an alternative to the unifying of cultures brought about by economic globalization? When ideas, like objects and words, can be translated and marketed everywhere, what forms of critique are available? Straddling the fields of political philosophy, comparative literature, animal studies, global studies, and political economy, Untranslating Machines proposes to this end a weakened, defective concept of “untranslatability.” The analytic frame of Jacques Lezra’s argument is rooted in Marx, Derrida and Wittgenstein. He moves historically from the moment when “translation” becomes firmly wed to mercantilism and to the consolidation of proto-national state forms, in European early modernity; to the current moment, in which the flow of information, commodities and value-creation protocols among international markets produces the regulative fantasy of a global, coherent market of markets. In a world in which translation and translatability have become a means and a model for the consolidation of a global cultural system, this book proposes an understanding of untranslatability that serves to limit the articulation between a globalized capitalist value-system and the figure and techniques of translation.

Is time a natural reality that social symbols such as clocks and calendars merely contingently represent? Lateness protocols seemingly exhibit such contingency, for not all cultures regulate synchronization identically. Just as social/cultural time structures are interpreted to diverge from time’s natural rhythm, body modifications are often presented as social productions that divert human bodies from their naturally originated, corporeal temporality. A similar separation informs climate change discourses, supposing a natural rhythm that industrialized culture has invaded, the effects of which humans might be too late to arrest. Interrogating this conceptual separation matters, given that if certain times are considered to be more natural than others, a situated politics emerges regarding the associated cultural structures. Furthermore, our personal investments in experiences of lateness, which are embedded within social time, seemingly contradict the constructionist impression that social time is merely a contingent misrepresentation of what time actually is. Through Derridian deconstruction, Merleau-Pontian phenomenology, and Bergsonian time-philosophy, complemented with voices from fields including object oriented ontology, new materialism, and new criticism, this book re-evaluates the timing of times from a philosophical perspective.

Is time a natural reality that social symbols such as clocks and calendars merely contingently represent? Lateness protocols seemingly exhibit such contingency, for not all cultures regulate synchronization identically. Just as social/cultural time structures are interpreted to diverge from time’s natural rhythm, body modifications are often presented as social productions that divert human bodies from their naturally originated, corporeal temporality. A similar separation informs climate change discourses, supposing a natural rhythm that industrialized culture has invaded, the effects of which humans might be too late to arrest. Interrogating this conceptual separation matters, given that if certain times are considered to be more natural than others, a situated politics emerges regarding the associated cultural structures. Furthermore, our personal investments in experiences of lateness, which are embedded within social time, seemingly contradict the constructionist impression that social time is merely a contingent misrepresentation of what time actually is. Through Derridian deconstruction, Merleau-Pontian phenomenology, and Bergsonian time-philosophy, complemented with voices from fields including object oriented ontology, new materialism, and new criticism, this book re-evaluates the timing of times from a philosophical perspective.

Putting the New Materialist figure of diffraction to use in a set of readings – in which cultural texts are materially read against their contents and their themes, against their readers or against other texts – this volume proposes a criticalintervention into the practice of reading itself. In this book, reading and reading methodology are probed for their materiality and re-considered as being inevitably suspended between, or diffracted with, both matter and discourse. The history of literary and cultural reading, including poststructuralism and critical theory, is revisited in a new light and opened-up for a future in which the world and reading are no longer regarded as conveniently separate spheres, but recognized as deeply entangled and intertwined. Diffractive Reading ultimately represents a new reading of reading itself: firstly by critiquing the distanced perspective of critical paradigms such as translation and intertextuality, in which texts encountered, processed or otherwise subdued; secondly, showing how all literary and cultural readings represent different ‘agential cuts’ in the world-text-reader constellation, which is always both discursive and material; and thirdly, the volume materializes, dynamizes and politicizes the activity of reading by drawing attention to reading’s intervention in, and (co)creation of, the world in which we live.

Centered around the relationship between art and political transformation. From Charlottë Bronte and Virginia Woolf, to Marlene van Niekerk and William Kentridge, artists and intellectuals have tried to address the question: How to deal with the legacy of exclusion and oppression? Via substantive works of art, this book examines some of the answers that have emerged to this question, to show how art can put into motion something new and how it can transform social and cultural relations in a sustainable way. In this way, art can function as an effective form of cultural critique. In the course of this book, a range of artworks are examined, through a postcolonial and feminist lens, in which revolt—both as a theme and as a medium-specific technique or/as critique —is made visible. Time and time again, revolt takes the form of a slow and thorough working through of the position of the individual in relation to her history and her contemporary geopolitical circumstances. It thus becomes evident that renewal and transformation in art and society are most successful when they proceed according to the method of self-reflexive cultural critique; when they do not present themselves as revolution, radical breaks with the past, but rather as processes of revolt in which knowledge of the past is investigated, complemented, corrected, and bent to a new collective will.

Centered around the relationship between art and political transformation. From Charlottë Bronte and Virginia Woolf, to Marlene van Niekerk and William Kentridge, artists and intellectuals have tried to address the question: How to deal with the legacy of exclusion and oppression? Via substantive works of art, this book examines some of the answers that have emerged to this question, to show how art can put into motion something new and how it can transform social and cultural relations in a sustainable way. In this way, art can function as an effective form of cultural critique. In the course of this book, a range of artworks are examined, through a postcolonial and feminist lens, in which revolt—both as a theme and as a medium-specific technique or/as critique —is made visible. Time and time again, revolt takes the form of a slow and thorough working through of the position of the individual in relation to her history and her contemporary geopolitical circumstances. It thus becomes evident that renewal and transformation in art and society are most successful when they proceed according to the method of self-reflexive cultural critique; when they do not present themselves as revolution, radical breaks with the past, but rather as processes of revolt in which knowledge of the past is investigated, complemented, corrected, and bent to a new collective will.

Urban Arabesques examines philosophy as an event of the city and the city as an event of philosophy and how the intertwining of the two generates an urban imaginary. This critique-in-motion of creative figures and conceptual personae from (non) philosophy illuminates the emergence of sense in the city, shows how “transcendental empiricism” operates within it, and how the everyday life of the streets—the ordinariness of experience as well as the screen/projector of urban surfaces—uncovers new pathways for politics, experience, and relationalities.Using Hong Kong as the primary site of thinking yet recognizing that thinking incessantly moves beyond any particular location, the book opens up cities within the city. Traversing Hong Kong reveals how the corners, the money, the trees and the water are involved in philosophy. Combining the linguistic approach found in Heidegger and Derrida, with the more materialist analysis of Serres and Deleuze, the objective of this book is to retheorize the urban and its imaginary—its virtuality, irreality, phantasmicity—with an emphasis on signs, images and rhythms, resonating through philosophy, and beyond.

The Ends of Critique re-examines the stakes of critique in the 21st century. In view of increasingly complex socio-political realities and shifts in a fully globalized world, the roles and manners of critique also change. The volume offers an unprecedented re-examination of critique under those conditions of global entanglement and asymmetrical relations from a diversity of scholarly perspectives within the humanities. All contributions move the notion of critique into more diverse traditions than the Eurocentric, Kantian tradition and emphasize the need to attend to a plurality of critical perspectives. The volume’s reflections move critique toward a situated, perspectival, and entangled critical stance, with interventions from decolonial and systemic, deconstructive and (post)human(ist) perspectives. In that way, the volume develops a decidedly different approach to critique than recent considerations of critique as post-critique (Felski) or those endebted to Frankfurt School thought and liberal theories of democracy. It is the first full-length research publication of the interdisciplinary research network Terra Critica.