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Bodies with Objects in Space through Screens

Casual Virtuality and the Self-Mediation of Laura Paolini's Constraining Aesthetics

Jakub Zdebik

unrepresentable” (1996: 1014). All these elements seem to elegantly hold together in Paolini's performance piece. Fredric Jameson, in his assessment of allegory, talks about the distance between the object and its interpretation: The allegorical … can be

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An Anti-Imperial Mythology

The Radical Vision of Howards End

Charles Campbell

not see British complicity in the imperial catastrophe of 1914’ because ‘he was reconciled to the Wilcoxes, to the financial interests’. 16 More perceptively, Fredric Jameson finds that Howards End convincingly portrays the imperialist subject in

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Who Can Save the Subaltern?

Knowledge and Power in Amitav Ghosh's The Circle of Reason

Sujala Singh

In recent times, the position of the Indian writer writing in English has undergone something of a transformation. The celebrations of post-colonial marginality have come to be replaced by allegations of what Graham Huggan has termed ‘strategic exoticism’. Even though the publication of Salman Rushdie’s Midnight’s Children (1981) is hailed as a turning-point, much contemporary criticism has tired of Rushdie’s chutnified histories and East–West fusions. By the time Arundhati Roy won the Booker in 1997, the 1980s era of welcoming post-colonial ‘difference’ had been replaced by an unease that postcolonial writers, rather than being marginal ‘others,’ had become the shrewd profiteers of a global economy. The rhetoric of globalisation since the mid-1990s has increasingly situated the post-colonial writer as beneficiary (and not always an inadvertent one) of the global market-place rather than as the under-represented, under-taught, noncanonical ‘other’ who must be studied if only under the rubric of Fredric Jameson’s well-intentioned ‘national allegories’.

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Brexit, Erewhon, and Utopia

Porscha Fermanis

ideological underpinnings. If, as Fredric Jameson argues, the utopia is primarily a by-product of modernity, periodically reemerging during times of political and social crisis, then it is fundamentally centered on the negative aspects of industrial and late

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Lu Yang

Planetary Techno-Orientalism

Christophe Thouny

to expected socio-psychoanalytical readings. Yet the execution of the text, what Fredric Jameson (2001) calls fancy, always escapes any easy interpretation. Posthumanism is there, yes, and yet LY's cyber-subject is a pure cartesian subject, a thinking

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Philosophical Fiction as World Literature

Jean-Paul Sartre's Nausea

Aaron Castroverde

”, according to Fredric Jameson, “are essentially literary institutions , or social contracts between a writer and a specific public, whose function is to specify the proper use of a particular cultural artifact.” 19 As such, the genre itself provides its own

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‘Failed Feminism’

Anne Tyler's Vinegar Girl in the Chinese Market

Yingjie Duan and Junwu Tian

Formica counters, a thickly painted white wooden table with two red chairs. ‘Nice,’ Kate said. 24 Fredric Jameson diagnoses nostalgia as a ‘symptom of an omnipresent, omnivorous, and well-nigh libidinal historicism’. 25 However, Kate's particular

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Embodied Vibrations

Disastrous Mobilities in Relocation from the Christchurch Earthquakes, Aotearoa New Zealand

Gail Adams-Hutcheson

vibration came close to overwhelming my senses. I attended the Association of American Geographers’ (AAG) conference in Los Angeles in 2013, housed in Fredric Jameson and Ed Soja’s “curiously incomprehensible” Westin Bonaventure. 60 While attending

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Psychogeography’s Legacy in From Hell and Watchmen

Alex Link

typical of postmodernity for Fredric Jameson, for whom individuals living within its complexity must look for a ‘flash of historical understanding’ somewhere in the ‘recombination of separate columns in the newspaper’. 77 The New Frontiersman ’s

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‘The Inexhaustible Surface of Things’

Stefano Tamburini's Comic Book Work

Simone Castaldi

Fredric Jameson, 15 is the postmodern discourse par excellence: Mariani's paintings, with his displacement of hyperrealist and neoclassical suggestions; Marco Lodola's flat sculptures, conjugating futurism and pop art; Eco's Il Nome della rosa, part