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 5, Number 2 (January, 1995)                ISSN: 1053-1920

Editors:     				Eyal Amiran, issue editor
					John Unsworth

Review Editor:				Jim English 

Managing Editor:			Amy Sexton 

List Manager:				Chris Barrett 

Editorial Board:

     Sharon Bassett 			Phil Novak
     Michael Berube 			Patrick O'Donnell
     Marc Chenetier 			Elaine Orr
     Greg Dawes 			Marjorie Perloff
     bell hooks 			Fred Pfeil
     Graham Hammill 			Mark Poster
     Phillip Brian Harper 		David Porush
     David Herman 			Carl Raschke
     E. Ann Kaplan 			Avital Ronell
     Barbara Kirshenblatt-Gimblett 	Susan Schultz
     Arthur Kroker 			William Spanos
     Neil Larsen 			Gary Lee Stonum
     Tan Lin 				Tony Stewart
     Jerome McGann 			Chris Straayer
     Jim Morrison 			Rei Terada
     Stuart Moulthrop 			Paul Trembath
     Larysa Mykyta 			Greg Ulmer


     TITLE                                               FILENAME

     Kevin McNeilly, "Ugly Beauty: John Zorn         mcneilly.195
     and the Politics of Postmodern Music" 

     Arkady Plotnitsky, "RE-: Re-flecting,           plotnits.195
     Re-membering, Re-collecting, Re-selecting, 
     Re-warding, Re-wording, Re-iterating,
     Re-et-cetra-ing,...(in) Hegel"

     Ewa Ziarek, "The Uncanny Style of                 ziarek.195
     Kristeva's Critique of Nationalism"

     Hank De Leo, Two Paintings: "Get Change," 
     and "The Brain Has a Mind of its Own" 
     (World-Wide Web/gopher/ftp versions only)

     Charles Shepherdson, "History and the           shepherd.195
     Real: Foucault with Lacan"

     Hassan Melehy, "Images Without: Deleuzian         melehy.195
     Becoming, Science Fiction Cinema in the 

     Jeffrey Yule, "Waxing Kriger"                       yule.195

     Dion Dennis, "Evocations of Empire in             dennis.195
     A Transnational Corporate Age: Tracking 
     the Sign of Saturn" 


     Timothy Burke, "Response to Deepika              letters.195
     Bahri's Essay, 'Disembodying the Corpus: 
     Postcolonial Pathology in Tsitsi 
     Dangarembga's Nervous Conditions'" and 
     Deepika Bahri, "Response to Timothy 
     Burke's Letter."


     Karen L. Carr, "Optical Allusions:              pop-cult.195
     Hysterical Memories and the 
     Screening of Pregnant Sites"


     Brent Wood, "Bring on the Noise!                review-1.195
     William S. Burroughs and Music in
     the Expanded Field."  Review of 
     William S. Burroughs, Dead City Radio.
     Island Records, 1990; ---, Spare Ass 
     Annie and Other Tales.  Island Records, 
     1993; Ministry with William S. Burroughs, 
     Just One Fix.  Sire Records, 1992; 
     Revolting Cocks, Beers, Steers and Queers. 
     Waxtrax, 1991; and ---, Linger Fickin 
     Good.  Sire Records, 1993.

     Alan G. Gross, "A Disorder of Being:            review-2.195
     Heroes, Martyrs, and the Holocaust." 
     Review of Lawrence L. Langer, Holocaust 
     Testimonies: The Ruins of Memory.  New 
     Haven: Yale UP, 1991; James E. Young, The
     Texture of Memory: Holocaust Memorials 
     and Meaning.  New Haven: Yale UP, 1993; 
     and Yitzhak Zuckerman, A Surplus of Memory: 
     Chronicle of the Warsaw Ghetto Uprising. 
     Barbara Harshav, ed. and trans.  Berkeley:
     University of California Press, 1993. 

     Karen Morin, "The Gender of Geography."         review-3.195
     Review of Gillian Rose, Feminism and 
     Geography: The Limits of Geographical 
     Knowledge.  Minneapolis: University of 
     Minnesota Press, 1993. 

     Steven Helmling, "The Desire Called             review-4.195
     Jameson."  Review of Fredric Jameson, 
     The Seeds of Time.  New York: Columbia 
     University Press, 1994.

     Matthew Causey, "Mapping the                    review-5.195
     Dematerialized: Writing Postmodern 
     Performance Theory."  Review of Nick Kaye, 
     Postmodernism and Performance.  London: 
     Macmillan, 1994.

     Jon Thompson, "A Turn Toward The Past."         review-6.195
     Review of Carolyn Forche, The Angel of 
     History. New York: Harper Collins, 1994. 

           -- Review Editor: Jim English 


     Announcements and Advertizements          [WWW Version only]


Kevin McNeilly, "Ugly Beauty: John Zorn and the Politics of
Postmodern Music"

     ABSTRACT: John Zorn's music, both composition and
     performance, pursues a crucial relationship between the
     political and the postmodern.  Zorn's music is affective,
     in the sense that it attempts to engender a decidedly
     proactive response in its listeners to the anaesthetic,
     technocratic conditions of mass media and mass culture.
     That affectivity is generated, however, from within mass
     culture itself, as Zorn exploits both established genre and
     renegade noise.  Against the often elitist assumptions of
     Theodor Adorno and Jacques Attali, epitomized in the
     practices of such late modernist composers as John Cage,
     Zorn's music offers an ironic counterthrust, while
     attempting simultaneously to provoke a somewhat uneasy
     musical revolution; his work dismantles and reassembles
     musical form using its own technocratic trappings, but also
     aims toward an inherently self-critical sense of creative
     community.  --KM

Arkady Plotnitsky, "RE-: Re-flecting, Re-membering,
Re-collecting, Re-selecting, Re-warding, Re-wording,
Re-iterating, Re-et-cetra-ing,...(in) Hegel"

     ABSTRACT: This paper explores the conjunction of
     consciousness, history, and economy in Hegel, centering
     around the concept of economy and linking it to the modern
     (post-Hegelian) and postmodern institution of collecting.
     The Hegelian economy both offers a paradigmatic classical
     econonmy of collecting and carries within itself the forces
     of dislocation of classical understanding of collecting--or
     economy--and entails a reinterpretation of both.  This
     reinterpretation, and the economics of collecting it
     implies, conform to George Bataille's "general economy,"
     which he opposes to "restricted economies," such as Hegel's
     philosophy or Marx's political economy (in their classical
     interpretation), which aim to contain irreducible loss, or
     excessive accumulation, within the systems they describe.
     General economy would see the relationships between both
     types of economic aspects--the productive or conserving and
     the destructive or wasteful--as multiply interactive,
     sometimes metaphorically mirroring each other, sometimes
     metonymically connected, sometimes disconnected.  The
     "economics" of Hegel's own text, of its production and
     reception, and Andy Warhol's practices of collecting, are
     considered as key examples in this argument.  --AP

Ewa Ziarek, "The Uncanny Style of Kristeva's Critique 
of Nationalism"

     ABSTRACT: On the basis of the aesthetics of the uncanny,
     Kristeva rethinks the model of collective identification at
     work in modern nation-states from the marginal position of
     the foreigner.  Exposing the violence of xenophobia
     underlying national affiliations, Kristeva attempts to
     articulate a different concept of sociality, based on the
     "respect for the irreconcilable."  Such a respect for the
     radical form of otherness not only contests the reification
     of language (where the arbitrary signs become emblems of
     the imaginary communion with others) but also demystifies
     the identity of the symbolic order itself.  Since for
     Kristeva the individual or collective identity is
     inextricably bound with a "fascinated rejection of the
     other," she argues that only a departure from that logic of
     identity--from the affective %Einfuhlung% as well as from
     the equivalences set up by the symbolic totality--can
     create non-violent conditions of being with others.  In
     _Strangers to Ourselves_, Kristeva's political critique of
     nationalism leads to an inquiry into ethics.  In this
     context, I explore the notion of alterity implied by this
     intersection, or perhaps, disjunction, between the politics
     and ethics of psychoanalysis.  --EZ

Charles Shepherdson, "History and the Real: Foucault with Lacan"

     ABSTRACT: This paper contests the canonical reception of
     Foucault, which has stressed two aspects of his work: on
     the one hand, its contribution to "theory" or "method" (the
     theory of power, or sexuality, or genealogy), and on the
     other hand its status as "historical knowledge."  The paper
     argues that the crucial epistemological break forged by
     Foucault lies in its refusal to lay claim to a metalanguage
     (a "theory of power" for example), and its refusal to
     present its historical material as "knowledge about the
     past," as the discipline of history traditionally presents
     itself.  The argument focuses on three features of
     Foucault's work: its status as a "history of the present"
     (as opposed to knowledge about the past); its interest in
     the "limits of formalization" (as opposed to the systematic
     aims of structuralist thought); and its explicitly
     "fictional" character.  All three issues are clarified
     through a parallel with Lacanian psychoanalysis.  The first
     issue can be formulated in terms of the "position of
     enunciation."  Here, Foucault is seen to aim more at
     disrupting the place of the speaking subject--namely, our
     current arrangement of knowledge--that at producing an
     account of the past.  The second issue can be formulated in
     terms of what Lacan calls "the real," namely, a traumatic
     element which has no imaginary or symbolic form, which is
     lacking any representation, but which haunts the systemic
     organization of conscious thought, marking its
     incompleteness, the impossibility of its closure.  Here,
     Foucault is regarded as aiming, neither at a "structural
     linguistics" (as "archaeology" is usually seen to be), nor
     at a "return to history" ("genealogy"), but as aiming to
     encounter the "real" in a Lacanian sense--to provoke the
     destabilization of our contemporary arrangement of
     knowledge by touching upon the elements of trauma within it
     (such as "madness," in his early work, or "sex" in his
     later work).  Finally, the third issue, "fiction," obliges
     us to stress the degree to which Foucault's work presented
     itself as a kind of action, a kind of praxis or
     intervention, rather than a "documentary" form of
     knowledge.  Here, the status of Foucault's "historical"
     research comes very close to the "fictions" produced in the
     course of analysis.  This point also makes it possible to
     give more weight to the references Foucault constantly made
     to works of art, references which have always been slighted
     by those who wish to present his work as either "positive
     historical research" or a new methodology or metalanguage.
     In more general terms, the paper seeks to bring together
     two thinkers who, in the canonical reception, have been
     simply opposed to one another--as if Foucault simply
     repudiated psychoanalysis, while Lacan's purported
     "structuralism" had no relation to contemporary efforts to
     rethink historical knowledge.  By bringing the two thinkers
     together, the paper hopes to intervene in this canonical
     interpretation.  --CS

Hassan Melehy, "Images Without: Deleuzian Becoming, Science
Fiction Cinema in the Eighties"

     ABSTRACT: Gilles Deleuze's _Cinema 1_ and _Cinema 2_ are
     integral to the philosopher's career-long projects, as they
     involve a rereading of philosophy in search of its less
     dominant aspects in order to elicit resistance to
     totalizing forces.  Deleuze interprets Henri Bergson's
     notion of the image.  This notion is akin to Deleuze's own
     characterization of the simulacrum in an early essay on
     Plato: the simulacrum turns out to be not so much a false
     representation as what debunks the representation that
     claims to be true.  Deleuze enters the cinema to undo the
     predominance of imposed true images of the world, which
     philosophy has largely accepted since Plato.  Of interest
     in connection with Deleuze is a set of science fiction
     movies released in the 1980s: these films take up questions
     of the cyborg and simulation, raising the anxiety of what
     is real and what human in the age of image-producing
     technology.  The directors addressed are James Cameron,
     John Carpenter, David Cronenberg, Ridley Scott, and Paul
     Verhoeven.  These movies treat philosophical concepts in
     ways that point to the possibility of reconceiving human
     limits in relation to images and machinery.  --HM

Dion Dennis, "Evocations of Empire in a Transnational 
Corporate Age: Tracking the Sign of Saturn"

     ABSTRACT: This essay examines how a series of "New World
     Order" effects, such as deindustrialization, downward
     mobility and the economic climate for Generation Xers are
     represented within current U.S. corporate, educational and
     political practices.  In shaping the politics of everyday
     anxiety, endemic concerns about personal and social
     security are often thoroughly intermixed with a pervasive
     nostalgia for the "Golden Age" of the American Empire
     (roughly 1955-1973).  The current task for public relations
     workers at transnational corporations and their
     governmental allies has been how to recover the iconography
     of the American Dream as a positivity in a time of
     dislocation and disaccumulation.  Specifically, they
     cultivate and circulate a claim that transborder
     informational and production practices do not represent the
     death of the American Dream.  In the amended account, the
     American Dream is resurrected, phoenix-like, in the
     promised embodiment of a postindustrial,
     information-driven, "next generation" form.  In doing this,
     they refurbish the powerful and recurrent American ideology
     of techno-utopianism.  And "Saturn" has become a key
     signifier repetitively attached to well-promoted projects
     and promises of Imperial reinvigoration via technology.
     This essay is a politico-semiotic analysis of the intended
     and unintended meaning-effects attached to these
     techno-Saturnian projects.  From NASA rockets and General
     Motors' Saturn division to the Saturn School of Tomorrow,
     the essay probes the sign of Saturn's multiple and
     contradictory connotations--including the political promise
     of nation-state hegemony in a transcorporate era.  --DD

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