In the Heart of the Country,the second novel by J.M.Coetzee,has been traditionally read as a disembodied writing that focuses on the problem of writing per se instead of the reality.This paper contends that the work i...In the Heart of the Country,the second novel by J.M.Coetzee,has been traditionally read as a disembodied writing that focuses on the problem of writing per se instead of the reality.This paper contends that the work is actually a body narrative that explores the visceral pain suffered by Magda whose infertile body impedes her being a qualified subject.As the heroine in a postcolonial novel,Magda is not just a body that is restricted and constructed by the politics of the body,but also a thinking and writing body that consciously questions and resists the gendered bodily norms under whose yardstick her subjecthood is barred.Written in the metafictional manner,Magda’s narrative of the body is not just a record of her corporeal experience,but also a self-conscious negotiation with,and challenge of,the bodily norms under whose yardstick her body has been debased or,in terms of Judith Butler,abjected.Taking her female bodily experience as the starting point,Magda writes a feminine text that values passion,fluidity and non-linearity to disrupt the patriarchal discourse underpinned with logical reasoning.The feminine body narrative endeavors to achieve a new way of communication through which a reciprocal cross race/gender relationship might be established.展开更多
Chunibyo, a new Japanese slang term, which roughly translates to "fourteen sick", usually occurs among middle school students. Most of the"patients"are teenagers, who see themselves as grown adults...Chunibyo, a new Japanese slang term, which roughly translates to "fourteen sick", usually occurs among middle school students. Most of the"patients"are teenagers, who see themselves as grown adults and believe they have special power. According to Lacan's theory, this symptom would disappear when people enter the symbolic order. However, some remain"sick"even after they have grown up. In this essay, conceptual explanation will be given to this symptom based on the theory of"abjection",while linking Chunibyo to the epistemological process of paranoiac knowledge rooted in Lacan's psychic synthesis. Afterward,Chunibyo will be analyzed in terms of contemporaneity and spatiality. Some effective ways to treat Chunibyo will also be discussed in the last section.展开更多
Becoming famous in 1960s,American confessional poetry,in response to High Modernism as impersonality and totalobjectivity,shifted focus on personal experience.When such confessional flow rushed into China in 1980s,it ...Becoming famous in 1960s,American confessional poetry,in response to High Modernism as impersonality and totalobjectivity,shifted focus on personal experience.When such confessional flow rushed into China in 1980s,it provided Chinese poets a confessional voice to write and investigate significant issues of world,life and society.Thus,writing in different languages and periods does not stop them to implement the same mission:to adopt a confessional voice,represent trauma as blackness and darkness in women experience and bring light,meanwhile,achieve one’s own truth and liberation.展开更多
Alice Notley’s Culture of On e(2011)is a“poet’s novel”about a woman who lives in the dump of a U.S.Southwest desert town.The female character who“inhabits”the dump-and this poet’s novel-is both metonym for and ...Alice Notley’s Culture of On e(2011)is a“poet’s novel”about a woman who lives in the dump of a U.S.Southwest desert town.The female character who“inhabits”the dump-and this poet’s novel-is both metonym for and guide into the lost representation of“the abject,”a concept developed by Julia Kristeva as a psychic state of horror and response to that which lies outside culturally“normalized”subjects and objects,and our“desire for meaning.”Utilizing her dump refuse for its materials,the main character,Marie,creates her own“culture of one,”standing as figure for the artist/writer plunging not“meaning”but meaninglessness and its abject association with death,which is prefigured as the unclean,the improper,rejected body parts,deviant“non-existent”personae-and,ultimately,Marie’s figural status as marginal inhabitant/“culture remaker”/older woman/multi-media“poet”artist.Without traditional conventions of novelistic character development,plot,and visual description,Notley’s“poet’s novel”formally engages in what Viktor Shkolvsky,in his well-known essay“Art as Technique,”terms“defamiliarization”or“strangeness”(“ostranenie,”in Russian),including those principles he cites of“deceleration”and“deviation of the norm.”Notley’s work twists the binary logic implied in Shkolvsky’s“deviation”versus“norm”further by revealing abjection’s“strangeness”in the poet’s novel itself as form,”a text that is always becoming its own site of the linguistic abject,never codifying identity,or the interpreted known.展开更多
基金supported by Humanities and Social Sciences Fund of Ministry of Education of China (No.19XJA7520012020)supported by National Social Science Fund of China (No.20BWW069).
文摘In the Heart of the Country,the second novel by J.M.Coetzee,has been traditionally read as a disembodied writing that focuses on the problem of writing per se instead of the reality.This paper contends that the work is actually a body narrative that explores the visceral pain suffered by Magda whose infertile body impedes her being a qualified subject.As the heroine in a postcolonial novel,Magda is not just a body that is restricted and constructed by the politics of the body,but also a thinking and writing body that consciously questions and resists the gendered bodily norms under whose yardstick her subjecthood is barred.Written in the metafictional manner,Magda’s narrative of the body is not just a record of her corporeal experience,but also a self-conscious negotiation with,and challenge of,the bodily norms under whose yardstick her body has been debased or,in terms of Judith Butler,abjected.Taking her female bodily experience as the starting point,Magda writes a feminine text that values passion,fluidity and non-linearity to disrupt the patriarchal discourse underpinned with logical reasoning.The feminine body narrative endeavors to achieve a new way of communication through which a reciprocal cross race/gender relationship might be established.
文摘Chunibyo, a new Japanese slang term, which roughly translates to "fourteen sick", usually occurs among middle school students. Most of the"patients"are teenagers, who see themselves as grown adults and believe they have special power. According to Lacan's theory, this symptom would disappear when people enter the symbolic order. However, some remain"sick"even after they have grown up. In this essay, conceptual explanation will be given to this symptom based on the theory of"abjection",while linking Chunibyo to the epistemological process of paranoiac knowledge rooted in Lacan's psychic synthesis. Afterward,Chunibyo will be analyzed in terms of contemporaneity and spatiality. Some effective ways to treat Chunibyo will also be discussed in the last section.
文摘Becoming famous in 1960s,American confessional poetry,in response to High Modernism as impersonality and totalobjectivity,shifted focus on personal experience.When such confessional flow rushed into China in 1980s,it provided Chinese poets a confessional voice to write and investigate significant issues of world,life and society.Thus,writing in different languages and periods does not stop them to implement the same mission:to adopt a confessional voice,represent trauma as blackness and darkness in women experience and bring light,meanwhile,achieve one’s own truth and liberation.
文摘Alice Notley’s Culture of On e(2011)is a“poet’s novel”about a woman who lives in the dump of a U.S.Southwest desert town.The female character who“inhabits”the dump-and this poet’s novel-is both metonym for and guide into the lost representation of“the abject,”a concept developed by Julia Kristeva as a psychic state of horror and response to that which lies outside culturally“normalized”subjects and objects,and our“desire for meaning.”Utilizing her dump refuse for its materials,the main character,Marie,creates her own“culture of one,”standing as figure for the artist/writer plunging not“meaning”but meaninglessness and its abject association with death,which is prefigured as the unclean,the improper,rejected body parts,deviant“non-existent”personae-and,ultimately,Marie’s figural status as marginal inhabitant/“culture remaker”/older woman/multi-media“poet”artist.Without traditional conventions of novelistic character development,plot,and visual description,Notley’s“poet’s novel”formally engages in what Viktor Shkolvsky,in his well-known essay“Art as Technique,”terms“defamiliarization”or“strangeness”(“ostranenie,”in Russian),including those principles he cites of“deceleration”and“deviation of the norm.”Notley’s work twists the binary logic implied in Shkolvsky’s“deviation”versus“norm”further by revealing abjection’s“strangeness”in the poet’s novel itself as form,”a text that is always becoming its own site of the linguistic abject,never codifying identity,or the interpreted known.
