P       RNCU   REPO   ODER       E            P O S T M O D E R N
P  TMOD RNCU  U EP S  ODER  ULTU E               C U L T U R E
P  TMODERNCU  UREPOS  ODER  ULTU E          an electronic journal
P  TMODERNCU  UREPOS  ODER       E           of interdisciplinary
Volume 17, Number 2 (January 2007)              ISSN: 1053-1920

Editors:                            Eyal Amiran

Review Editor:                      Ellen McCallum

Advisory Board: 		    Lisa Brawley
				    James F. English                                    
				    Paula Geyh
                                    Stuart Moulthrop
                                    John Unsworth

Managing Editor:                    Claire Chantell

Research Assistants:                Michelle Cho
				    Susanne Hall

Editorial Board:                                           

     James Berger                   Patrick O'Donnell
     Heesok Chang                   Bob Perelman
     Wendy Hui Kyong Chun	    Marjorie Perloff
     Ashley Dawson                  Peggy Phelan
     Johanna Drucker                Arkady Plotnitsky
     Diane Gromala                  Alessia Ricciardi
     Graham Hammill                 Tilottoma Rajan
     Terry Harpold                  Judith Roof
     David Herman                   Susan Schultz
     Matthew Kirschenbaum           Steven Shaviro
     Neil Larsen                    Rei Terada
     Akira Lippitt                  Darren Tofts
     Adrian Miles		    Paul Trembath                   
     James Morrison		    Jeffrey Williams
     Sianne Ngai                                          
    Jussi Parikka, Insects, Sex, and Biodigitality in Lynn 
    Hershman Leeson's Teknolust
    Stephen Voyce, The Xenotext Experiment: An Interview with 
    Christian Bok
    Marc Botha, How To Lose Your Voice Well
    Annette Schlichter, "I Can't Get Sexual Genders Straight": 
    Kathy Acker's Writing of Bodies and Pleasures
    Steven Helmling, How To Read Adorno on How To Read Hegel
    Bernard Duyfhuizen, "The Exact Degree of Fictitiousness": 
    Thomas Pynchon's Against the Day. A review of Thomas 
    Pynchon, Against the Day. New York: Penguin, 2006.
    Tim Christensen, Bill Cosby and American Racial 
    Fetishism. A review of Michael Eric Dyson, Is Bill 
    Cosby Right? Or Has the Black Middle Class Lost Its Mind? 
    New York: Basic Civitas, 2005.
    Aimee L. Pozorski, Mourning Time. A review of R. Clifton 
    Spargo, The Ethics of Mourning: Grief and Responsibility 
    in Elegiac Literature. Baltimore: Johns Hopkins UP, 2004.
    Robert T. Tally, Jr., The Agony of the Political. A 
    review of Chantal Mouffe, On the Political. London: 
    Routledge, 2005.
    David Bockoven, After Reading After Poststructuralism. A 
    review of Colin Davis, After Poststructuralism: Reading, 
    Stories and Theory. New York: Routledge, 2004.
                      Notices (HTML Version Only)
                      Notes on Contributors
    Marc Botha, How To Lose Your Voice Well
        * Abstract: This essay identifies the voice, and its ability 
    to reach and pull together even as it divides, as the pivot upon 
    which a radical reconsideration of communication and the 
    inevitability of miscommunication can turn. The concept of 
    "intervocalic communion" is developed to explore these issues 
    in three scenes: a choir in which each member sings a part 
    unrelated to any of the others, a chattering crowd at the opening 
    of an art exhibition, and the imagined multilingual din a few 
    moments before the opening of a General Assembly meeting of the 
    United Nations. Is communication possible in these scenarios 
    that are essentially hostile to it? The essay argues that the 
    (re-)introduction of silence into intervocalic communion--a 
    special case of losing one's voice--reinvigorates the 
    possibility of communication. --mb 
    Steven Helmling, How To Read Adorno on How To Read Hegel
        * Abstract: This article reads Adorno's 1962 essay 
    "Skoteinos, or How to Read Hegel" as an implicit program for 
    Adorno's own writing practice. Throughout his oeuvre, Adorno is 
    consistent in the demand that philosophical writing must enact 
    in its "form" the arguments and negations that philosophy 
    usually thought of as its "content." Commentators rightly take 
    "The Essay as Form" as Adorno's most insistent manifesto on 
    behalf of this very modernist idealization of writing. (Among 
    this article's aims is to evoke the specifically modernist 
    context of Adorno's thinking about writing, from Hegel to 
    Mallarme and beyond.) But "The Essay as Form" prescribes for 
    philosophy, so to speak, generically, expounding the creative 
    and expressive tension of "form" with "content" in general, 
    without investment in any particular philosophical positions. 
    "Skoteinos," by contrast, though not so explicitly staged as a 
    program for philosophical writing, is vastly more fraught than 
    "The Essay as Form" in mobilizing Adorno's prescriptions about 
    writing as a critique of his most potent philosophical 
    precursor. "Skoteinos" intimates Adorno's own ambitions, and 
    anxieties, as a practitioner of (philosophical) theory and/or 
    theorist of philosophical (writing) practice. "Skoteinos" stages 
    Hegel's philosophical failures as a function of Hegel's failures 
    as writer, and more broadly of Hegel's failure to bring the 
    implications of his dialectic for language to realization in the 
    "form" or textuality of his own writing--as if Hegel the 
    "immanentist" should have known better than anyone that there 
    could be no "end of art." Moreover, Adorno's account of Hegel's 
    failure implicitly declares Adorno's own philosophical 
    aspiration, renewing Hegel's project by correcting Hegel's 
    shortcomings. If Adorno's grandiose claims for the aesthetic 
    are usually assessed according to philosophical criteria, 
    this article attempts the reverse, to do unto Adorno as 
    "Skoteinos" does unto Hegel: to put Adorno's theory to the 
    proof of his writing practice. --sh 
    Jussi Parikka, Insects, Sex, and Biodigitality in Lynn 
    Hershman Leeson's Teknolust
        * Abstract: The article analyzes the Lynn Hershman Leeson's 
    film Teknolust (2002) as an alternative take on the visual 
    creation of biodigitality. Arguing that Teknolust can be read 
    as a probe into the infiltration of biodigital creatures in 
    contemporary networks of communication, the article suggests 
    that in the film the figures of sexuality, agency and 
    technology are understood as non-human affects. Here, the idea 
    of "insectoid" modes of agency underlines the tension between 
    the three Self-Reproducing Automata (SRA) of the film: between 
    human DNA and technological networks, and between heterosexual 
    mating rites and viral biodigital forms of reproduction. --jp 
    Annette Schlichter, "I Can't Get Sexual Genders Straight": 
    Kathy Acker's Writing of Bodies and Pleasures
        * Abstract: The essay explores Kathy Acker's reconfiguration 
    of heterosexual practice and identity in her "novel" Don Quixote. 
    The essay shows how the production of dissident heterosexualities 
    forms a radical critique of sexuality by situating Don Quixote in 
    the controversy over what Michel Foucault has called "bodies and 
    pleasures," the counterdiscursive concept he distinguishes from 
    the reigning system of sex-desire. Through its claim to represent 
    and legitimize excessive, perverse female heterosexual desires, 
    Don Quixote reimagines socio-sexual relations through "bodies and 
    pleasures" without giving up the critical force that the notion of 
    sex-desire has offered feminist critics of the construction of the 
    subject. Acker queers the conditions of representation by 
    deploying the oppositional potential of "bodies and pleasures." --as 
    Stephen Voyce, The Xenotext Experiment: An Interview with 
    Christian Bok
        * Abstract: Christian Bok is the author of two collections of 
    poetry: Crystallography (Coach House, 1994) and Eunoia (Coach House, 
    2001), which earned the Griffin Prize for Poetry in 2002. He is 
    also a sound poet and conceptual artist; Bok has performed to 
    audiences internationally, and his art has been showcased at the 
    Marianne Boesky Gallery in New York and with the traveling text art 
    exhibition Metalogos. This interview considers the wider scope of 
    his artistic practice and his current project, The Xenotext 
    Experiment, which explores the relationship between poetry and 
    biotechnology. Bok hopes to encode a poetic text into the genetic 
    sequence of a living organism. --sv 
Copyright (c) 2004 Postmodern Culture & Johns Hopkins 
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