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Osip Mandelshtam
Pascal-Denis Lussier
Narratology (excerpt)
Lucie Guillemette
Inna Semetsky
Absurdist Monthly ReviewIssue 10
Gregory Freidin
S. Bell
American Legacy
Kenneth J. Knoespel
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HAIRY
A P E .
Playing
as part
of
this
year's Buffalo
Infringement
Festival, and one
of 26 theatrical
productions to take
shape within this 11
-day
event,
it
shrewdly embodies
the fest's intentions: jagged,
scrappy, playful and unpredictable.
Absurdist
News
Front
In the Theatre
ion. This leaves him to seek solace in the arms of an ape at the
zoo in the play's chilling final
scene.
All in all, the production's
conceit ultimately pays off and is
acted with conviction by its 11member cast, which includes local fave Betsy Bittar as a haughty
socialite.
www.subversivetheatre.org.
Student production
will either entertain
or insult audience
By Sara Petersen
Kent State NewsNet
April 30, 2009
Low budget 'Ubu Roi' premieres
tonight.
"Ubu Roi," which opens tonight,
includes a drag queen teacher, people eating sausages from a man's
crotch and a woman proclaiming a
horse's ass is better than yours.
"Lab shows are usually edgier and
more controversial stuff that you
really wouldn't see on the mainstage
just because of the nature of the material," said Jason Leupold, sophomore musical theater major. He
plays Captain Mac'Nure in the play.
Rick Coffey, senior musical theater
major and director of "Ubu Roi,"
said the play is grotesque - but
funny.
"It insults the audience because they
don't know how to feel," he said.
French playwright Alfred Jarry
wrote "Ubu Roi" to premier in 1896.
"Shit" was the first word uttered in
the play and the audience rioted,
shouting
insults and fighting.
"Nobody ever heard the word 'shit'
on stage before," Coffey said.
Coffey modified the play to a Catholic school setting."My adaptation is
about a man (Ubu) who is convinced
by his wife to kill the king and the
royal family," Coffey said. "Ubu
then kills all of the royal family except for one son, who seeks
help from the Russians and
eventually overthrows Ubu."
As Coffey thought about
adapting the characters from
the play, he found that they
all fell into a school stereotype, such as a bully, a nerd
and a secretary. "The play
itself is written in a very
childlike manner and
that's when I first started
thinking about 'Ubu' being set in a school," he
said.
"By setting it in a classroom, the
audience understands what is happening, but the interpretation is up
to them," Coffey said. "It gives (the
audience) a place that they're familiar with."The action is so abstract,
and the characters are so abstract
(that) if there's one thing that they
can cling onto as a part of their reality, it will kind of be a bridge to the
abstract world."
Journaly Things
Cognitive Semiotics
#3 published!
Cognitive Semiotics #3 is now
available from publisher, Peter
Lang, and in its electronic form at
Metapress. It has been
aptly
titled
Semiotics as a
Cognitive Science and contains seven diverse and wideranging contributions by Elmar
Holenstein, Marcel
Hnaff,
Jesper
Srensen, Robert E.
Haskell, Claudio
Paolucci,
Svend
stergaard and Peter
Vuust & Andreas Roepstorff. Enjoy!
Example:
Young Dick, always eager to eat,
Denied stealing the fish eggs, whereat
Caning him for a liar,
His pa ate the caviar
And left Dickie digesting the caveat.
Other eye rhymes:
sew : blew
brow : crow
said : laid
their : weir
dough : rough
rouge : gouge
fiend : friend
hubris : debris
derange : orange
rugged : drugged
love : prove
Miscellany
Wheres Pt. 2?
Eye Rhyme
http://www.cognitivesemiotics.com/
Text Play
by Gregory Freidin
M
In response to
the early Futurist
manifestoes,
Mandelshtam,
together with
Nikolay Gumilyov,
Anna Akhmatova,
and Sergey
Gorodetsky
founded the
Acmeist school of
poetry, an attempt
at codifying the
poetic practice of
the new generation
of Petersburg
poets.
on
Russian
literary scholarship (Mikhail
Bakhtin, the Formalists).
Like many of his fellow poets and
writers, Mandelshtam earned his living in
the 1920s by literary translation. In 1929,
in the tense, politicized atmosphere of the
Stalin revolution, Mandelshtam became
enmeshed in a copyright scandal which
further estranged him from the literary
establishment. In response, Mandelshtam
produced Fourth Prose (1930), a stream
of consciousness monologue mocking the
servility of Soviet writers, brutality of the
cultural bureaucracy, and the absurdity of
socialist construction. Fourth Prose
was not published in Russia until 1989.
In 1930, thanks to the Nikolay Buk-
Disinclined to
serve as a
mouthpiece
for political
propaganda
(unlike
Vladimir
Mayakovsky),
Mandelshtam
considered a
dialogue with
his time
a moral
imperative for
a poet.
divulge
the names of the
friends who had
heard him recite
the poem, led to a
protracted bout
of mental illness.
Robertos
Pointless
Inner
Voice
Absurdist Monthly ReviewIssue 10
Bibliography
Osip Mandelshtam: Poems, chosen and translated by
James Greene ; forewords by Nadezhda Mandelshtam &
Donald Davie. (1978). The Prose of Osip Mandelshtam:
The Noise of Time, Theodosia, The Egyptian stamp.
Translated, with a critical essay, by Clarence Brown
(1965, 1989). The complete critical prose and letters /
Mandelshtam ; edited by Jane Gary Harris ; translated
by Jane Gary Harris. (1979) Nadezhda Mandelshtam
(Nadezhda Mandelshtam), Hope Against Hope (1970,
reissued 1989; originally published in Russian, 1970),
and Hope Abandoned (1974, reissued 1989; originally
published in Russian, 1972), memoirs by his wife, were
published in the West in Russian and English. Clarence
Brown, Mandelshtam (1976). Ronen, Omry. An Approach to Mandelshtam (1983). Gregory Freidin, A
Coat of Many Colors: Osip Mandelshtam and His My-
Narratology
Theory (exceprt)
by Lucie Guillemette
2.1 ORIGINS AND
FUNCTION
Using a
rigorous
typology,
Genette has
developed a
theory of
narratological
poetics that
may be used to
address the
entire inventory
of narrative
processes
in use.
2.2.1 DISTANCE
Any study of narrative mood requires
that we assess the distance between the
narrator and the story. Distance helps
us to determine the degree of precision in a narrative and the accuracy
of the information conveyed.
Whether the text is a narrative of
events (tells what the character is
doing) or a narrative of words
(tells what the character is saying or thinking), there are four
types of discourse, each
demonstrating progressively
greater distance taken by
the narrator with respect
to the text (1980, pp. 171
-172):
1. Narratized speech: The character's
words and actions are integrated into the
narration, and are treated like any other
event (-distant).
Example: He confided in his friend,
telling him about his mother's death.
2. Transposed speech, indirect style:
The character's words or actions are reported by the narrator, who presents them
with his interpretation (- + distant).
Example: He confided to his friend
that his mother had passed away.
3. Transposed speech, free indirect
style: The character's words or actions are
reported by the narrator, but without using a subordinating conjunction (+ - distant).
Any study of
narrative
mood requires
that we assess
the distance
between the
narrator and
the story.
Distance
helps us to
determine the
degree of
precision in a
narrative and
the accuracy
of the
information
conveyed.
A distinction
should be
made between
narrative voice
and narrative
perspective;
the latter is
the point of
view adopted
by the
narrator,
which Genette
calls
focalization.
2.3.3 NARRATIVE
PERSPECTIVE
A distinction should be made between
narrative voice and narrative perspective;
the latter is the point of view adopted by
the narrator, which Genette calls focalization. "So by focalization I certainly
mean a restriction of 'field' actually,
that is, a selection of narrative informa-
tion with respect to what was traditionally called omniscience" (1988, p. 74).
These are matters of perception: the one
who perceives is not necessarily the one
who tells, and vice versa.
Genette distinguishes three kinds of
focalization:
1. Zero focalization: The narrator
knows more than the characters. He may
know the facts about all of the protagonists, as well as their thoughts and gestures. This is the traditional "omniscient
narrator".
2. Internal focalization: The narrator
knows as much as the focal character.
This character filters the information provided to the reader. He cannot report the
thoughts of other characters.
3. External focalization: The narrator
knows less than the characters. He acts a
bit like a camera lens, following the protagonists' actions and gestures from the
outside; he is unable to guess their
thoughts.
By examining the characteristics of a
narrative instance and the particulars of
the narrative mood, we can clarify the
mechanisms used in the narrative act, and
identify exactly what methodological
choices the author made in order to render his/her story. The use of different
narratological processes creates different
effects for the reader. For example, one
could have a hero-narrator (autodiegetic
narrator) who uses simultaneous narration and internal focalization and whose
speech is often in reported form. This
would undoubtedly produce a strong illusion of realism and credibility.
2.4 LEVELS
Various reading effects result from
shifts in narrative level, traditionally
known as embedding. Within the main
plot, the author can insert other short embedded narratives, told by other narrators
from other narrative perspectives. This is
a rather common technique that adds diversity to the narrative act and increases
the complexity of the narrative.
LEVELS
NARRATIVE
CONTENT
Main plot
Extradiegetic
Homodiegetic narration
("I")
Event-story
Intradiegetic
Second-level
narrative act
Intradiegetic
Embedded narrative
Metadiegetic
Story of Marguerite
Bourgeois
2.4.1 EMBEDDED
NARRATIVES
Narration of the main (first-level) narrative occurs at the extradiegetic level.
The event-story being narrated on this
first level fills a second-level position,
known as intradiegetic. If a character
found in this story takes the floor and
tells some other narrative, his narrative
act will also be on the same intradiegetic
level. However, the events being told
through the second-level narration are
metadiegetic.
Example (fictitious): Today I saw a
teacher come up to a group of children at
play. After a few minutes, she spoke:
"Listen, children, I'm going to tell you an
amazing story of courage that happened
a few hundred years ago. This is the
story of Marguerite Bourgeois..."
2.4.2 METALEPSIS
Writers sometimes also use metalepsis, a process in which the boundary between two narrative levels (which is normally impervious) is breached so as to
deliberately blur the line between reality
and fiction. Metalepsis is a way of playing with variations in narrative level in
order to create an effect of displacement
Various
reading
effects
result from
shifts in
narrative
level,
traditionally
known as
embedding.
2.5.2 ORDER
The term
Genette
uses to
designate
nonchronological
order is
anachrony.
To return to our previous example,
if the homodiegetic narrator from the
main story line intervenes in the metadiegetic story of Marguerite Bourgeois,
this would be a case of metalepsis. Marguerite Bourgeois is a 17th-century heroine who founded the Notre-Dame Congregation school for girls in Montreal. So
it would be impossible for a contemporary ("current") narrator to appear on the
scene, camping out in New France in this
embedded story.
ends.
3. Summary: NT < ST. Some part of the event-story is
Example (fictitious): How will my adventure in summarized in the narrative, creating an acceleration.
Europe affect me? I will never be able to look at my fam- Summaries can be of variable length.
ily and friends in the same way; surely I will become con4. Ellipsis: NT = 0; ST = n. The narrative says absotentious and distant.
lutely nothing about some part of the event-story.
Needless to say, these four kinds of narrative speed
There are two factors that can enter into analepsis and can be used to varying degrees. They can also be comprolepsis: reach and extent. "An anachrony can reach into bined: A dialogue scene can contain a summary within it,
the past or the future, either more or less far from the for example. Variations in speed within a narrative can
"present" moment (that is, from the moment in the story show the relative importance assigned to different events
when the narrative was interrupted to make room for the in the story. If an author passes quickly over a particular
anachrony): this temporal distance we will name the fact, lingers over it, or omits it entirely, there is certainly
anachrony's reach. The anachrony itself can also cover a reason to ask why he made these textual choices.
duration of story that is more or less long: we will call
this its extent" (1980, p. 48).
H
Letterism;
what is it?
If youre
guessing that it
has something
to do with
letters, then
youre entirely
correct, but
only partially so.
Sounds
contradictory?
Before I get too far, allow me to clarify one aspect the more hardcore theory
obsessed folks amongst you (all AMR
readers?) are no doubt already sighing
over: although Lettrism is the accepted
English spelling, the Lettristes themselves prefer Letterism for the Anglicised term; since Im me and always opt
for the road less taken, Ill employ
Letterism.
Letterism; what is it? If youre guessing that it has something to do with letters, then youre entirely correct, but only
partially so.
Sounds contradictory?
Well, yes and no and perhaps maybe.
There! Now youre up to par with most
of the texts written about this movement
established by Isidore Isouborn IoanIsidor Goldstein in Botosani on January
31, 1925 (yet many texts claim 1928 as
the year of his birth!?!)a Romanian
Ashkenazi Jew turned Frenchmen who
claimed in 1999 to have no hang ups
about his name and who recoils at the
idea of pseudonyms, yet signed his work
under Jean-Isidore Isou and finally under
Isidore Isou
Infatuated with Dadaism and a great
fan of his fellow countryman, Tristan
Tzara, whom he saw as the foremost artistic creator and the sole originator of
Dada, as well as being greatly influenced
by the Surrealist Andr Breton, Isidore
Isou was nonetheless displeased with the
limited innovations these movements
produced in the early 40s; according to
him, all other Dadaists that followed
Tzara were mere plagiarists, and Surrealism was moving too rapidly towards
mysticism and had reached a point of
stagnation and theoretical bankruptcy (Isou, 1948). Building on these
two movements (or rather chiselling to-
wards a new amplic phase, as will be discussed further on), Isouwho, no doubt,
was a lonely teenwrote his first Letterist Manifesto in 1942 at the age of 16, in
which he makes the claim: Letterism =
I s i d o r e
I s o u
After the war, Isou relocated to Paris and
befriended Gabriel Pomerand; the Letterist movement officially saw the light of
day in November 1945.
Othe r s
soon
joined
them
a n d
Is o u
finally
ga i ne d
a great
deal of
respect
i
n
France
in
the
60s.
It is
interesting to note that
the 1942 manifesto seems to have been
motivated by his misreading of a phrase
by the German philosopher Hermann
von Keyserling, who wrote, The poet
dilates vocals, since vocals in Romanian, signifies vowels.
Before delving into Letterism itself, it
is important to set the stage on which
they were to make their entrance
The Industrial Revolution and the
subsequent rise of fascism in some areas,
along with the oppressive bourgeois
dominance over the proletariatseen as
the real causes of World War I by leftwing idealists and the disillusioned youth
who saw very little hope in their immediate futuresfed the intellectual and artistic reactions that culminated towards
movements and schools of thought
whose very aim was the annihilation of
social demoralization. The grip that was
still firmly held by old world despotism
...interesting
to note that
the 1942
manifesto
seems to
have been
motivated by
his misreading
of a phrase by
the German
philosopher
Hermann
von Keyserling
who wrote,
The poet
dilates
vocals, since
vocals in
Romanian,
signifies
vowels.
observations and analysis of the linguistic signemphasizing a complex relationship uniting a concept with a soundimagewere considered highly radical,
revolutionary ideas on the subject of
communication at the time.
This sound-image is not precisely an actual sound that is spoken, but the
"psychological imprint of the sound, the
impression that it makes on our
senses" (Saussure, 1916). In Saussurian
Linguistics, meaning exists iff (if and
only if), the sound-image, or signifier,
indicates a concept, or signified element
that exists in the world of the speaker.
The union of these two is what enables
meaningful communication to take place,
but only if the codification of a signifier
with a signified is shared by the speaker
and the auditor (or writer and reader).
This breakdown of the linguistic sign led
Saussure to posit the idea that this shared
codification and the ensuing connection
between the signifier and signified is not
natural or intuitive; signs are not absolute, they are entirely arbitrary. Therefore, within this system, meaning is entirely dependent on a culturally agreed
upon conventions
Two possible objections to the notion
of arbitrariness were also discussed in
depth by Saussure, onomatopoeia and
interjections; since these words are meant
to imitate clearly identifiable sounds (e.g.
pow, bang, etc.) or spontaneous expressions (e.g. ouch), the signifier should
therefore not be arbitrary. This idea was
appropriatedwhilst wilfully ignoring
an important segment of Saussures view
on the subjectby members of the
Futurist move ment,
which, following F.T.
Marinetti's
1909 Manifesto of Futurism, created
Onomatopoeic
Poetry, a poetic mode that
was
highly
popularized by
Raoul Hausmann
after a
1921 reading of his
poem fmsbw in
Prague.
Futurist influence on Isou and Letterists is somewhat evident in the early
phase of the movement; poetry was the
primary and very nearly sole focus of
the Letterists who promoted a form
of visual poetry that relied on new
calligraphic techniques, superimposed letters, and the introduction of
new and changing letters, as well as
oral performances that were entirely
dependant on the readers recitation
and use of inflections.
It is important to reiterate here that,
much like Absurdism, semantic content
is of little importance to Letterists, who,
by emphasizing the sound value of words
to produce emotions, originally sought to
demonstrate that beauty and worth lies
purely in auditory sounds, thus placing a
great deal of importance on phonetic accents; they saw unuttered linguistic signs
as fallacious entities, and a dependence
on such signs as the hallmark of misinterpretation and flawed, unsatisfactory communication, which has its roots in oppressive ideals and failing societal regimes that offer very little hope for a better future through its promotion of misdirected delinquency by way of stifling true
creativity.
However, both onomatopoeic words
and interjections, as Saussure argued, are
only approximations of a sound-image
since they are not universally the same
across all languages; they therefore rely
and conform to the broader linguistic
system they are part of, hence the varied
spellings across languages used to symbolize the same sounds. This notion became increasingly accepted by those
seeking to destroy all formalisms, and so,
by the time Isou immersed himself in
these matters and was seeking an acceptable outlet and literary voice, Onomatopoeic Poetry was no longer perceived as
the systemization providing the only viable poetry of the moment.
The general loss of interest in this form
and Isous initial reluctance towards it
was partially due to his recognition of its
adherence to the strict morphophonemic
rules separately underlying all languages,
and is also
in part due to
the fact that,
through
its
condemnation
of all other
literary
forms, the
ideals maintained by
Onomatopoeic Poets contradicted
the core
principles of Futurism,
which sought to destroy all past artistic forms in order to create new ones. It
is important to remember that since after
the First World War, the leading tendency of many intellectually-driven artistic communities still saw the creation of
new forms of expression, in all fields, as
the highest value of all human activity.
And so, according to Isou and others
(such as G.-E. Debord G. Wolman) that
soon joined his Letterist movement, this
new genre, although appealing, could
Futurist
influence on Isou
and Letterists is
somewhat evident
in the early phase
of the movement;
poetry was the
primary and very
nearly sole focus
of the Letterists
who promoted a
form of visual poetry that relied on
new calligraphic
techniques,
superimposed
letters, and the
introduction of
new and changing
letters...
Ironically,
despite all past
efforts that had
placed a great
deal of emphasis
on vocal sounds,
the bulk of
Letterist
activities shifted
towards visual
manifestations
the string of language in which it is embedded. This notion points to the centrality of the linguistic context to the
experience of meaning. Although the
relationship of signifier and signified is
arbitrary, the meaningfulness of the
sign is not: it is wholly determined by
and contributes to the linguistic string
of which it is a part.
In this sense, Letterists were trying to
break away from the obligatory syntagmatic principles governing communication, as well as the diachronic developments which automatically forged youthful modes of thinking as per previously
established codes of conduct prescribed
through grammatical rules, hence the
reasons why, in Isous manifesto, the
many references pitting youth against the
elderly.
Ironically, despite all past efforts that
had placed a great deal of emphasis on
vocal sounds, the bulk of Letterist activities shifted towards visual manifestationsthis, of course, implies deterministic reliance on symbolsand
Letterists soon adapted
this approach to
nearly all
facets of
a r t ,
including film,
dance,
and architecture.
This points to
a
n
important contradiction of
sorts since Ferdinand de Saussure was also the first
to make the claim against any parallels
THE AGE OF A
BJECTION:
KRISTEVAS
SEMANALYSIS FOR THE
REAL WORLD
According to
Kristeva, the aim
of semiotic
analysis is the
making of
various formal
models. We
consider such a
model to be a
symbolic
representation,
that is, a certain
system, the
structure of
which, in
Kristevas words,
is isomorphic or
analogous to the
structure of
another system
for example, Freud used to call dreamwork. According to Kristeva, Freud revealed production itself to be a process
not of exchange (or use) or meaning
(value) but of permutation, which provides the very model for production.
Freud therefore opens up the problematics of work as a particular semiotic system, as distinct from that of exchange (323). Etymologically, the position of analysis in semanalysis points
to decomposition or dissolution of the
sign and the text alike, which leads, by
virtue of the process of work, to the empirical discovery in practice of some deep
and hidden dimensions of meaning.
In her famous Revolution in Poetic
Language
(1974)
Kristeva further develops the psychoanalytic
significance of semanalysis by specifically differentiating between two
dimensions, the semiotic
a n d t h e s ymb o l i c .
Roughly, the former may
be related to what Freud
called primary process and
the latter to his secondary
processes. The primary process expresses itself prelinguistically, at the level of
drives and instincts; therefore
it constitutes the semiotic dimension by virtue of it being
pre-symbolic. The non-verbal
semiotic dimension precedes the
symbolic (or linguistic) one; the
two finding themselves related to each
other dialectically. Following the example of Freuds psychoanalytic psychologic, Kristeva posits a new dialectical
logic of contradiction as a foundation for
the signifying practice. The Hegelian
dialectics with its logical operation of
negation becomes a basis of any symbolic activity.
2. Abjection
The dictionary definition of abject
and abjection is as follows:
abjection
n.
1. the condition of being servile,
wretched, or contemptible.
2. the act of humiliating.
3. Mycol. the release of spores by a
fungus.
abject
adj.
1. utterly hopeless, miserable, humiliating, or wretched: abject poverty.
2. contemptible; despicable; basespirited: an abject coward.
3. shamelessly servile; slavish.
4. Obs. cast aside.
The meaning of abjection, as described
by Kristeva in her
Powers of Horror:
An Essay on Abjection (1982), is
one of those violent, dark revolts
of being, directed
against a threat
that seems to
emanate from
an exorbitant
outside or inside, ejected
beyond the
scope of the
possible, the
tolerable,
the thinkable (1982: 1).
We experience abjection as a spontaneous reaction that may manifest in a
form of unspeakable horror, often expressed at a physical level as uncontrollable vomiting, when faced with a breakdown in meaning caused by the generic
loss of a habitual distinction. When the
distinction it being between subject and
object, self and other, life and death is
destroyed, then the abjection takes its
place. Abjection preserves what existed
at the archaic level of pre-objectal relationship, as Kristeva puts it, within the
abjection
n.
1. the condition of
being servile,
wretched, or contemptible.
2. the act of humiliating.
3. Mycol. the release of spores by
a fungus.
abject
adj.
1. utterly hopeless, miserable,
humiliating, or
wretched: abject
poverty.
2. contemptible;
despicable; basespirited: an abject
coward.
3. shamelessly
servile; slavish.
4. Obs. cast aside.
Corpse
serves as a
primary
example,
traumatically
reminding us
of our own
finitude and
materiality
so
does
Auschwitz as a symbol of a
particularly destructive, violent, and immoral event. Kristeva, describing abjection, uses the infinitive 'to fall', cadere in
French, hence cadaver, the corpse:
[M]y body extricates itself, as being
alive, from that border. Such wastes drop
so that I might live, until, from loss to
loss, nothing remains in me and my entire body falls beyond the limit cadere,
cadaver. If dung signifies the other side
of the border, the place where I am not
and which permits me to be, the corpse,
the most sickening of wastes, is a border
that has encroached upon everything. ...
'I' is expelled (1982: pp.3-4).
The corpse indicates the breakdown
of the distinction between subject and
object, that is, a loss of the crucial factor
in establishing self-identity: it therefore
exemplifies the concept of abjection.
In the psychoanalytic tradition, abjection is linked to the image of the splitting
mother thus to one's desire for separation,
for becoming autonomous accompanied
as such by the contradictory feeling of
the impossibility of performing this par-
3. Two Images
3a). Background:
I had a paper published in 2000, that
is a year prior to 9/11, in Parallax (Leeds
University, CCS). This paper was called
Symbolism of the Tower as Abjection (Semetsky 2000). The paper interpreted the symbolism inscribed in The
Tower card in the Tarot deck (see transparency) in terms of Kristevas theory of
abjection.
The year after, in 2001, it was another
striking image that shook the real world:
the events on September 11. This is a
picture published on the Internet. Let us
take a minute of silence to look at it (see
transparency). So the start of the 21st
Century appears to be marked by the catastrophe that may be described as a
mark of what Kristeva called the dynamic of abjection, from paganism
through the whole of Western culture.
The Age of Abjection (as I call it) is permeated with a confrontation with the
Law where a symbolic child risks not
only castration but also the loss of its
whole being.
3b). Symbolism
The picture of the Tower, which in
some decks is called The Tower of Destruction, is one of the most dramatic,
horrifying and powerful images in the
Tarot deck. The images on The Tower
card, one of twenty-two major cards in a
deck, represent two human figures being
thrown out of a tower struck by lightning.
It is a fall, but not a free fall; it is a violent ejection. The figures' mouths are
gaping in horror; their eyes look and see
nothing. They are cast far into the deep.
The tower stands erect it is only its
crown that has been knocked down by
the blazing flames caused by lightning.
The two beings on the card have built the
tower and sealed it at the top: there is
no entry or exit. They have imprisoned
themselves in their own creation the
The mood of
this image is
permeated
with fear and
uncertainty,
confirming
Kristeva's
claim that
abjection is
above all
ambiguity.
The sense of
perpetual
danger'
and an
unconscious
anticipation
of a shock
Kristeva,
speaking of
contradiction,
has stressed
that its very
conditions
were always
to be
understood as
heterogeneity...
when the loss
of unity, the
anchor of the
process cuts in
[and] the
subject in
process
discovers itself
as separated
Babel (in fact, it is portrayed in this manner in some decks -- show another transparency from the Lovers tarotand second transparency of destroyed towers, as
a skeleton). The Tower is a symbol of
false omnipotence and mistaken certainty, a priori condemned to destruction
during the most powerful and confusing
instance amidst persistent contradiction
when even an attempt to any meaningful
communication breaks down and fails.
Kristeva, speaking of contradiction, has
stressed that its very conditions were
always to be understood as heterogeneity... when the loss of unity, the anchor of
the process cuts in [and] the subject in
process discovers itself as separated (sub in proc.: 149). Indeed, the
Tower becomes a signifier of a sudden
end in the status quo of the state of affairs, it being either individual, or interpersonal, or collective and social. The
loss of identity, experienced in abjection,
prevents the figures on the picture from
being able to envisage or recognize the
moment of lightning. But the lightning
strikes nevertheless even if I remains
unconscious of the upcoming event: indeed, the impossible constitutes its very
being (: 5) and a brutish suffering that
'I' puts up with (: 2).
Lightning may be identified with a
symbol of a sudden and totally overpowering change in one's psychic state leading to a potentially overwhelming numinous alteration in consciousness. A flash
of lightning ... is discharged like thunder, says Kristeva, as though herself
peculiarly narrating the Tower picture,
and the time of abjection is double: a
time of oblivion and thunder, of veiled
infinity and the moment when revelation
bursts forth (: 9). The Tower card is an
index of abreaction, taking the form of
catharsis, that is, a dramatic and forceful
replay of the unconscious material in either personal or collective consciousness,
when indeed one's fortified castle begins
to see its walls crumble (: 48). However,
the enforced evacuation, breaking all defences, frees one from being incarcerated
in the symbolic tower of one's own making, whether it be psychological, ideological, cultural, or any other stagnant
belief system. The Tower represents any
unforeseen cataclysmic event, which suddenly brings people down to earth by
disturbing the existing norm and order of
things, while simultaneously by raising
ones level of consciousness providing
a set of conditions for a new order.
The change in one's consciousness
via abjection represents dialectics that
constitutes a double process of both negation and affirmation, which is embedded in the construction of identity. Negation is characterized by a temporary interruption in the periodic dynamic process, within which a pause appears, as
claimed by Kristeva, in a form of a surplus of negativity, which would ultimately destroy the balance of opposites.
That is why the deject is in short a stray.
... And the more he strays, the more he is
saved (: 8), that is constitution takes
place via negation, ultimately contributing to the organization of reality at a new
level that would have taken place in one's
construction of subjectivity. The breakdown in existing order simultaneously
creates conditions for the potential production of a new order. Thus both rejection and stasis, or negation and identification, considered by Kristeva to be the
essential elements of subjectivity, seem
to precede the mirror stage, providing
that the Lacanian mirror is taken metaphorically and not as solely predicated
upon a pre-oedipal infant. This means
that the dialectical process exists in its
semiotic, quasi-objective reality prior to
having become an object of recognition
when presented in a form of the iconic
sign (as the Tower card, for example).
The function of the sign thus becomes to
amplify (am-pli-fy, or unfold, where le
pli means the fold) the unconscious contents, so as to eventually permit the
recognition of the want on which any
being, meaning, language or desire is
founded (Kristeva 1982: 5).
The change
in one's
consciousness
via abjection
represents
dialectics that
constitutes a
double process
of both
negation and
affirmation,
which is
embedded
in the
construction of
identity.
The collapse of
symbolic
Panopticon that
was founded on
the meticulous
organization
of space,
generates
chaos out of the
former order:
the abjection in
this case loses
its phobic
quality,
becoming not
only the power
of horror, as
Kristeva says,
but the power
of terror.
rudimentary representation, presign and spirit of terrorism, talks about the shift of
prelanguage (black sun: 192)
the struggle into the symbolic sphere
where an initial event as quite a good
However (and such is the thesis ad- illustration of chaos theory (2002: 23)
vanced in my earlier paper) Tarot images becomes subjected to unforeseeable conwhen functioning in a mode of pictorial sequences. Such a singular event like
semiotics (cf. Sebeok 1994), do enable the the destruction of Twin Towers on Sepshift of a subject-position from the infa- tember 11 propagates unpredictably,
mous abstract view from nowhere to the causing the chain of effects not just in
contextual and concrete view from the the direct economic, political, financial
here-and-now. Pictures function in the slump in the whole of the system and the
capacity of a modality of signifi- resulting moral and psychological downcance (b.s.: 193) for affects, moods and turn but the slump in the value-system
thoughts, which represent, as Kristeva per se (2002: 31-32). The collapse of the
says, inscriptions [or] energy disrup- towers represents the fact that the whole
tions... [that] become the communicable system has reached a critical mass which
imprints of affective reality, perceptible to makes it vulnerable to any aggresthe reader (b.sun.: 193). Any semiotic sion (2002: 33). Baudrillard points out
system as part of the typology of cultures that not only terrorism itself is blind but
needs certain means
for
its so were the real towers no longer openidentification
ing to the outside world, but subject to
within a field of
artificial conditioning (2002: 43):
communicative
air conditioning, or
and social relamental contions. Culture
ditioning
itself could be
alike, simiseen as a set
lar to the
of texts inTower on the
scribed in
picture that
collective
was sealed at
memory
the top when
(Lotman
struck
by
1990), and
lightning.
texts, as we
said earlier, need
The collapse of
not be exclusively
symbolic Panoplinguistic.
ticon that was
founded on the
lous organization of
3c). Social reality meticuspace,
generates
chaos
out of the former
The symbolic Tower of Destruction
order:
the
abjection
in
this
case loses its
may be erected not only on an individual
phobic
quality,
becoming
not
only the
level but also on the collective one. In the
power
of
horror,
as
Kristeva
says,
but the
feminist interpretation (Gearhart & Renpower
of
terror.
It
turns
instead
into
the
nie, 1981) The Tower signifies radical
intervention, revolution and the over- unleashed rage of violence against viothrowing of false consciousness, violent lence when the long repressed emotions
social conflict and change, destruction of and implicit feelings concerning the state
the old order on a grand scale, and release of affairs, when deprived of expression,
from imprisonment in the patriarchal explode and spill out from their ... constructure during the very process of its tainer (Casey 1997: 323). No longer prodemolition. Jean Baudrillard (2002), in his jected inward, the released violence beanalysis, or as he says, analogon, of the comes directed into the space where the
abject does not respect borders, positions, rules (kristeva 1982: 4). This is
indeed abjection [that] allows us to move
beyond the Law of the Father (Bogue &
Cornis-Pope 1996: 10). In a sense, there is
jouissance in this process: Kristeva states
that subjects that are victims of the abject
are its fascinated victims (1982: 9).
Quite significant is the fact that the
card immediately preceding The Tower
in a deck is called The Devil, and is traditionally interpreted in terms of fear,
bondage, submissiveness, and sexual or
economic dependency. (transparency). It
represents the absence of freedom, the
lack of hope, and the total powerlessness
that tend to, as Baudrillard says, crystallize and then, at the critical level, begin to
spread spontaneously until reaching the climax in
t h e
consequent card,
the Tower.
Psychologically, the image of the
Devil is the
embodiment of the
powerful,
either
individual
or
collective,
Shadow that lurks behind
the scenes and may indicate, very
much in Nietzschean sense, the ultimate
slave morality in the relationship between
oppressor and oppressed, even if the interplay of forces involved in this interaction
subsists at the unconscious level only. It
represents a moment of psychological denial and implementing a scapegoat policy,
while projecting onto the other ones
own inferior and shadowy qualities. It is
only when a set of relations becomes totally unbearable for the psyche, infusing it
with fears and phobias, then the next symbol, the Tower, comes forward. Or, rather
vice versa, when the effect produced by
The Tower crosses over the boundary
between the Symbolic and the Real, then
4. From Abjection to
Hope
One's sealed world was initially created due to the presence of the primary,
unconscious, and narcissistic desire to
imprison oneself in the Tower. The image
of expulsion from the Tower seems to be,
as Kristeva says, the logical mode of this
permanent aggressivity, and the possibil-
The subject,
when
functioning in
its capacity of
the abjective
self, becomes
animated by
expulsion, by
abjecting the
abject
(negating the
negation).
A semiotic
significance of
the iconic signs
is justified by
their functioning in the mode
of a site of a
subject-inprocess who,
instead of
sounding
himself as to
his 'being',
does so
concerning his
place: 'Where
am I?' instead
of 'Who am I?'
ity of its being positioned and thus renewed. Though destructive, a 'death
drive', expulsion is also the mechanism of
relaunching, of tension, of life (sub in
proc: 144), that is, its function doubles to
play a creative role in one's construction
of subjectivity and transformation of reality. The subject, in a process of identifying with the meaning of the Tower image,
is able to recognize its own shifting identity as abject. The subject, when functioning in its capacity of the abjective self,
becomes animated by expulsion, by abjecting the abject (negating the negation).
As Kristeva points out, such an identification facilitates control, on the part of the
subject, a certain knowledge of the process, a certain relative arrest of its movement, all of which are the conditions for
its renewal and are factors which prevent
it from deteriorating into a pure void (sub
in pro, 149) -- the zero degree of subjectivity.
choanalytic cure, is a concern for others, and a consideration for their ill-being(2002: 66). The loss of hope
is what is feeding terror, and it was precisely on September 11, 2001, when Kristeva re-defined her idea of revolt
that enables one to move into a space of hope. She calls it
a process of re-evaluation of the psyche that constitutes
the renewal of the self, which embodies events that she
calls symbolic mutations (:76). The fall of Berlin Wall,
or the drama of the Russian Kursk, or the planes hitting
the World Trade Centre those singular events provide
experiential conditions for transformation because they
are embedded in the very logic of symbolic
change (2002: 75). Revolt thus presupposes the very
necessity of the symbolic deconstruction, the symbolic
renewal, which comes from creation psychic creation,
aesthetic creation, rebirth of the individual (:76). In
short (de)construction means the expansion of consciousness in terms of healing, hope, and the flow of
creativity, all these attributes represented by the imagery
of the Star. The semiotics of pictures creates their own
text, the semanalysis of which provides those other
means, symbolic or imaginary (black sun: 391) that
serve as an example of the economy of care and hope in
the aftermath of destruction.
Mikhail Bakhtins
American Legacy:
Metamorphoses
and the Practice
of Cultural Theory (excerpt)
by Kenneth J. Knoespel
htin. Russian and Euro-American scholars together now divide Bakhtins work
and life (1895-1975) into five periods: 1)
His early life as the son of a merchant
family from the Orel region (gymnasium
years in Vilnius and Odessa) to university studies in Petersburg and his degree
in classical studies in 1918); 2) the time
in Nevel/Vitebsk (19191924) where he taught
language and literature and explored
formalist linguistics; 3) his return
to
Leningrad
(Petrograd),
(1924-1929)
where he continued his group
work on formalism. (And when
he lived for a
short period of
time with his
wife at Peterhof); 4) the
period of being on the
margins: exile
(Kazakhstan) and
teaching (Saransk, Savelovo) from 1930
to the early 1950s; 5) a late period between 1950s and 1975 when he received
a degree for his work on Rabelais and
becomes reassimilated into Russian literary culture. As the Bakhtin bibliography
shows, the sifting and resifting through
each of these periods has been a complicated task. (My single-handout offers a
chronology of Bakhtins work as well as
Russian and American publication dates.)
A detailed affirmation of Bakhtins
accomplishment together with an implicit
prediction of its importance for the future
appears in Caryl Emersons book, The
First Hundred Years of Mikhail Bakhtin.
The 1999 book on Bakhtin by Ken
Hirschkop, Mikhail Bakhtin: An Aesthetic for Democracy carries special importance because of its meticulous review of the archival problems surround-
ing Bakhtins manuscripts and their Russian publication. As both Emerson and
Hirschkop know, it is hardly an exaggeration to talk about a Bakhtin industry.
Bakhtin has become a scholarly equivalent of a Medieval poet whose texts have
been so dispersed that one is continually
confronted with questions of authenticity
or chronology. Indeed Bakhtins legacy
hardly depends on the web
sites or digital versions of his work
but on a painstaking
assembly of a mass
of material. This
archival work pertains not only to
Bakhtin but to the
complex dissemination of intellectual activity during
the Soviet period.
From such a vantage
point,
Bakhtin
should not be isolated but taken as a
mark of the important scholarship that
took place during the
Soviet period. My
r e marks this afternoon
will hardly create a whole Mikhail
Bakhtin but will instead suggest that the
legacy of Bakhtin in the United States
has gone through several stages. Rather
than simply providing a historical overview, however, I will argue that the most
important work on Bakhtin is our own
contemporary work.
Ideologies of
Reception
A fundamental mark of Bakhtins
critical philosophy involves his challenge
that we become aware that the language
with which we work is never ours alone.
In sharp contrast to poetic theory that
would individualize the experience of
language--a kind of Cartesian poetics
Bakhtin reminds us that we are in continuous conversation with others. Such a
Bakhtin has
become a
scholarly
equivalent of a
Medieval poet
whose texts
have been
so dispersed
that one is
continually confronted with
questions of
authenticity
or chronology.
If we wish,
we may ask
about the
perception
or distortion
of the Soviet
Union
through the
lens of the
iron curtain.
What was
seen and
what was
not seen
through this
lens?
ary theory. For a more detailed encounter, I needed to wait until I had visited the
Soviet Union for the first time in 1971.
While teaching at the University of Uppsala (1970-73), I often spoke with Annika Bckstm, a Swedish scholar of
Russian literature whose scholarship and
translation of Marina Tsvetaeva, Vladimir Admoni, and Joseph Brodsky introduced names that I would never have
encountered in the United States. When I
returned to the United States and began
my graduate studies at the University of
Chicago in1974, one of my first encounters with my professors in comparative
literature was with the Russian Slavist
Edward Wasiolek who was in the process
of editing Dostoevskys notebooks. A
year or so later when I first read Rabelais, I approached it as a work related to
my own work in Medieval and Renaissance literature. Here, I thought, was a
Russian Johann Huizinga. Almost at the
same time I encountered the novelistic
Bakhtin who challenged me to think
about the polyphonic structure of Ovids
What is so
remarkable
is that the
scholarly
figure of
Bakhtin
begins to be
assembled in
the 1960s by
academic
communities
who were
reading works
that he had
read decades
earlier.
tury that Hobsbawm has described a the century of warfare. The work of Michael Holquist serves as a good
example of Bakhtins integration with early twentiethcentury German philosophy and since I can hardly review the connections here I must refer people to Holquists introduction to Art and Answerability.
But if American reception of Bakhtin is influenced by German scholars, it is accomplished by
Russian migr scholars. It was Roman Jacobson
and Kyrstyna Pomorska who supervise the publication of Rabelais and Pomorska who writes the
introduction. The formalist-interest of Jakobson
and Pomorska deserves special attention. For Pomorska, Bakhtin offers an opportunity not only to
review tenants of Russian Formalism but also to
show how Bakhtin has extended its application.
The author is no longer confined to the verbal
language but investigates and compares different
sign systems such as verbal, pictorial, and gestural. In the book on Dostoevsky Bakhtin had already mentioned that his analysis of the dialogue/
monologue structure actually belongs to a
metalingual level. In the present study he has
proved to be most consistent in this creative development. The critic presents Rabelais work in
the richest context of medieval and Renaissance
cultures, treating them as systems of multiform
signs.
What should be emphasized as well is that unlike
many Russian theorists, beginning in 1968, Bakhtin becomes of interest not simply to Slavists but to a broad
range of professors and students in the study of literature. In reviewing recent research on Bakhtin for this
lecture, I expected to be overwhelmed by articles and
books that testified both to the Bakhtin industry in the
United States and to multiple theoretical personalities
that had been created for Bakhtin. In large part what I
expected was true but I also discovered that it might be
more realistic to speak not so much of a Bakhtin industry as a Bakhtin laboratory. While it is certainly possible
to discover many instances of Bakhtin being torn away
from a Russian intellectual setting and even more being
torn away from Russian, it is important to see that Bakhtins migration has also challenged the often isolated
position of Slavic departments in the United States. In
effect, Bakhtin has become a cross-over figure that
has brought Russian theory even in English Departments. One reason may be located in the importance of
Rene Wellek who drew such attention to the history of