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Modernist Embodiment

Sisyphean Landscape Allegory in Cinema

David Melbye

psychologically conflicted in their existential disposition than as single-minded of purpose. For the Spanish conquistador Aguirre (Klaus Kinski), his obsession with absolute dominance over Central and South American regions and their peoples, even to the point of

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Eliza Deac

perspective was encouraged by the fact that, at the early stages at least, e-literature did not claim absolute novelty but was preoccupied with finding precursors and precedents in the field of literary practice and theory. At the time when Patchwork Girl

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Objet A(ffect) and Che(www) Vuoi

The Fleshy Horror of the Unknowable Other in Spring and Honeymoon

Dewey Musante

one … [and] herein lies the basis of what [we] would call ‘cosmic horror’—the paradoxical realization of the world’s hideousness as an absolute hiddenness” (2011: 80). Pertinent for my argument here is his distinction that the human condition (which

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Steven Eastwood

without Hegelian proportions, without image, without limits—and gives this assemblage its absolute potential: the movement and flourishing of anti-production. The BwO is a multi-sensory, multi-dimensional desiring machine, no longer distorted by operations

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Michele Barker

of total division, absolute visibility. There is never complete perception of the imperceptible. Instead, to feel imperceptibility we require a new approach to the creation of images that are both sustained by and create movement. While Bergson

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On Shock Therapy

Modernist Aesthetics and American Underground Film

William Solomon

charged, libidinal space of ceaseless change induces in the viewer a euphoric sense of absolute groundlessness. Encouraged to enter a decentered arena of attractions, a multi-vectored zone of constantly fluctuating formlessness, what we enter into is a

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Queer Sinofuturism

The Aberrant Movements and Posthumanist Mutations of Body, Identity, and Matter in Lu Yang's Uterus Man

Gabriel Remy-Handfield

confirms the absolute value of reproductive futurism” (2004: 3). On the other hand, queer subjects are then associated with the death drive for Edelman: “The death drive names what the queer, in the order of the social , is called forth to figure: the

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Andrew J. Webber

have recognized her on the street, while the mother looks on in evident distaste. 10 When Lore asserts, with absolute faith, that she would certainly have recognized her father, he cannot cope with the pressure of that unconditional anagnorisis. 11