Shades of Violence: Multidisciplinary Reflections on Violence in Literature, Culture and Arts
Shades of Violence: Multidisciplinary Reflections on Violence in Literature, Culture and Arts
Contributor(s): Sümeyra Buran (Editor), Mahinur Akşehır (Editor), Neslihan Köroğlu (Editor), Barış Ağir (Editor)
Subject(s): Politics / Political Sciences, Philosophy, Social Sciences, Economy, Literary Texts, Fine Arts / Performing Arts, Psychology, Essay|Book Review |Scientific Life, General Reference Works, Library and Information Science, Sociology
Published by: Transnational Press London
Keywords: Posthumanism Series; Türkçe Seri; arts; culture; gender; literature; racism; Representations; Violence;
Summary/Abstract: “Shades of Violence: Multidisciplinary Reflections on Violence in Literature, Culture, and Arts” explores the tapestry of violence across diverse forms of artistic expression, expertly edited by Sümeyra Buran, Mahinur Akşehir, Neslihan Köroğlu, and Barış Ağır. From the gripping introduction to the thought-provoking chapters contributed by an array of scholars, this collection navigates the multifaceted dimensions of violence. Muhsin Yanar’s exploration of Don DeLillo’s work calls for a posthumanist stance against violence, while Begüm Tuğlu Atamer questions the justification of violence in Shakespeare’s “Titus Andronicus.” The anthology expands its reach, examining slow violence in John Burnside’s “Glister” (Derya Biderci Dinç), portraying environmental violence in Bilge Karasu’s “Hurt Me Not” (Özlem Akyol), and unraveling psychological violence in Kate Chopin’s stories (Senem Üstün Kaya). Contributors delve into theatre violence (Gamze Şentürk Tatar), indigenous struggles against violence in Cheran, Mexico (Kristy L. Masten), Robert Browning’s “Porphyria’s Lover” (Derya Oruç) and the complex interplay of power in Anthony Burgess’s “A Clockwork Orange” (Şebnem Düzgün). The anthology also explores the contested space of the Black queer body (Taylor Ajowele Duckett), Nietzschean aggression (Yunus Tuncel), and various forms of violence in Giovanni Verga’s short stories (Simone Pettine). “Shades of Violence” emerges as an indispensable exploration of violence’s nuanced manifestations, providing readers with a comprehensive understanding through its diverse and insightful perspectives.
- E-ISBN-13: 978-1-80135-149-2
- Print-ISBN-13: 978-1-80135-148-5
- Page Count: 287
- Publication Year: 2023
- Language: English
A Posthumanist Call Against Violence In Don Delillo’s Ouvre
A Posthumanist Call Against Violence In Don Delillo’s Ouvre
(A Posthumanist Call Against Violence In Don Delillo’s Ouvre)
- Author(s):Muhsin Yanar
- Language:English
- Subject(s):Studies in violence and power, American Literature
- Page Range:23-42
- No. of Pages:20
- Keywords:violence; shifting; visible; invisible; frontal; viral; brute; force; mediated force; real; virtual; physical; psychological;
- Summary/Abstract:Today violence is shifting from the visible to the invisible, from the frontal to the viral, from brute force to mediated force, from the real to the virtual, from the physical to the psychological, from the negative to the positive, withdrawing into the subcutaneous, subcommunicative, capillary and neuronal space, creating the false impression that it has disappeared […] (Byung-Chul Han, Topology of Violence, 2011; 2018)Portrayals and depictions of violence –economic, political, cultural, or environmental– are one of the subject matters in modern American literature, notably in the works of Don DeLillo. Violence in its various forms and practices, often justified in a Machiavellian manner, is used to establish, and maintain power and authority, leading to its normalization and celebration. However, the forms and/or acts of violence in various settings raise significant ethical concerns that require urgent critical examination. It is quite clear that Titus Andronicus is not a play for the faint-hearted. Violence takes the form of physical, mental, and verbal expressions throughout the play, shocking its audience since it was first performed around the end of the sixteenth century. The play opens with a proposition to the worthy soldier Titus Andronicus: Will he choose to “help set a head on headless Rome”? (1.1.186). Rome being defined as a mutilated body from the very beginning of the play signals to what extent its citizens will suffer from the chaos ruling over it. Without a king, a central figure of authority, savagery will ensue. Nonetheless, a king without competence will also lead the people to barbarism. Titus follows the ancient order of picking the eldest son Saturninus as the king, restores a ‘head’ to Rome, and thus paves the way for his own destruction. Saturninus clearly does not deserve his position, as displayed by his weakness in being controlled by the Queen of Goths, Tamora. The state is compromised by the presence of not only a woman, but a foreign woman, who castrates Saturninus’ authority and warns the audience of what dangers lie ahead if the state is not controlled by an almighty king. This worship of patriarchal power and order is a direct representation of the Elizabethan society ruled by a Queen with “the heart and stomach of a king, and of a king of England too” (Tilbury Speech, 1588). As Andrew Hadfield argues, “Titus is not simply a play about the decline of the Roman republic but deals explicitly with the political issues and choices raised by the history of Rome,” a history that was studied in detail by the English authors of the time (2005, p. 100). The play’s extreme display of violence simultaneously portrays and challenges the very dynamics of the era it was produced in. As it is customary with Shakespeare, the play appears to present a traditional plot on the surface: A state is on its way to destruction without a proper king, but in the final moments, it is saved by the restoration of monarchy owing to the very laws that have made the state great in the first place. Nonetheless, on a deeper level, the play challenges the fundamental values of Elizabethan society through various instances of violence. Titus remains loyal to the laws of Rome until the end of his wit, and yet, he faces extreme punishment on stage, forcing the audience to question ancient traditions. While Titus seems to take the lead in punishment in the form of the Roman self, Tamora and the Goths embody the figure of the other, thus creating a self versus other dichotomy. Nonetheless, the existence of Aaron complicates the matters further since he represents neither the Romans nor the Goths. He stands in an in-between space where all the blame can be placed upon him as a mischievous evil figure without taking into consideration that almost all characters, with the exception of Lavinia, perform extreme manners of violence. Titus Andronicus represents Romans as the ideal self for the Elizabethan society while situating the Goths as what I call ‘familiar strangers’. Furthermore, the play creates a ‘blind spot’ with Aaron, the designated villain of the story, who does not even have any desire for redemption. Therefore, this article aims to explore how various forms of violence are justified when committed in the name of an idealized civilization like Rome whereas it is condemned when demonstrated by others who do not fit into the understanding of civilization in Titus Andronicus.
- Price: 5.00 €
Who is to Blame?: Justifying Violence in Titus Andronicus
Who is to Blame?: Justifying Violence in Titus Andronicus
(Who is to Blame?: Justifying Violence in Titus Andronicus)
- Author(s):Begüm Tuğlu Atamer
- Language:English
- Subject(s):British Literature
- Page Range:43-56
- No. of Pages:14
- Keywords:Who is to Blame; Justifying violence; Titus Andronicus;
- Summary/Abstract:It is quite clear that Titus Andronicus is not a play for the faint-hearted. Violence takes the form of physical, mental, and verbal expressions throughout the play, shocking its audience since it was first performed around the end of the sixteenth century. The play opens with a proposition to the worthy soldier Titus Andronicus: Will he choose to “help set a head on headless Rome”? (1.1.186). Rome being defined as a mutilated body from the very beginning of the play signals to what extent its citizens will suffer from the chaos ruling over it. Without a king, a central figure of authority, savagery will ensue. Nonetheless, a king without competence will also lead the people to barbarism. Titus follows the ancient order of picking the eldest son Saturninus as the king, restores a ‘head’ to Rome, and thus paves the way for his own destruction.
- Price: 5.00 €
Slow Violence of Toxicity in Glister by John Burnside
Slow Violence of Toxicity in Glister by John Burnside
(Slow Violence of Toxicity in Glister by John Burnside)
- Author(s):Derya Biderci Dinç
- Language:English
- Subject(s):British Literature
- Page Range:57-79
- No. of Pages:23
- Keywords:Slow Violence; toxicity; glister; John Burnside;
- Summary/Abstract:Glister (2008) by John Burnside is one of the contemporary fictions that exemplifies toxic life under the threat of chemical exposure. Burnside dealt with exposure to invisible toxicants and the environmental and social threats of toxicity. In doing this, the writer depicted the interrelated nature of environmental and social injustice by reflecting the ongoing relationship between environmental degradation and class division. This article explores industrial toxicity in Glister through the lens of Rob Nixon’s concept of slow violence, which has contributed to shaping an interdisciplinary discourse that explores toxic legacies. The article’s main concern is to examine how the toxicity sets a course towards slow violence in the fictional post-industrial town, Innertown, in which social and environmental lives have been intertwined.
- Price: 2.00 €
Inside The World of The Villain: Violence in Robert Browning’s “Porphyria’s Lover”
Inside The World of The Villain: Violence in Robert Browning’s “Porphyria’s Lover”
(Inside The World of The Villain: Violence in Robert Browning’s “Porphyria’s Lover”)
- Author(s):Derya Oruç
- Language:English
- Subject(s):British Literature
- Page Range:81-95
- No. of Pages:15
- Keywords:Inside The World of The Villain; violence; Robert Browning; Porphyria’s Lover;
- Summary/Abstract:The dark side of human conduct, which becomes the nature of the literary villain, demonstrates itself mainly through manipulation, cruelty, and immorality. The will to consciously inflict pain onto others mentally and/or physically generates gratification in the villain’s self-being. In literary texts, the reader is commonly introduced to two types of villains: the traditional and the contemporary villain. The traditional villain, who holds similar stereotypical features to the antagonists of the morality plays, is easilyrecognized by the reader since there occurs to be a possession of the commonly known seven deadly sins that are overtly exhibited.The dark side of human conduct, which becomes the nature of the literary villain, demonstrates itself mainly through manipulation, cruelty, and immorality. The will to consciously inflict pain onto others mentally and/or physically generates gratification in the villain’s self-being. In literary texts, the reader is commonly introduced to two types of villains: the traditional and the contemporary villain. The traditional villain, who holds similar stereotypical features to the antagonists of the morality plays, is easily recognized by the reader since there occurs to be a possession of the commonly known seven deadly sins that are overtly exhibited. However, “the most frightening truth about evil is the fact that in real-life” and in most modern texts, “it is often disguised, and rarely appears as immediately visible” (Marshall, 2000, p. 161). In general, the traditional villain is either diabolically canny or simply insane with the overt intention to impose pain onto others. On the other hand, the subtlety of the contemporary villain creates difficulty in distinguishing the good from the bad. The offensive act, which does not occur straight away, provides the idea of a cold and calculated thought process. On some occasions, similar to the traditional villain, the contemporary villain shows a sign of struggle with the darker side of the soul, whereas, in other situations, he occurs to be utterly comfortable with his true existence and does not disclose his intentions until the very end which frequently causes emotional distress on the reader at the moment of revelation. Thus, the two-dimensional traditional villain, who is effortlessly recognized commonly by appearance, converts into a more complicated and undetectable criminal. This complex model of a person who does not fit into the accustomed and stereotypical elements of the characters in stories not only hides behind decent characteristics but also does not put himself into a position of being a suspect. Therefore, in real life and literary texts, the moment of realization creates astonishment. After the frustrating acceptance of the situation, the question ‘why?’ becomes important. Why does someone who seemed to be such a normal person commit such an incomprehensible and evil crime? How is it possible that one could be capable of such monstrous and violent behaviour?
- Price: 5.00 €
Staging Violence in Theatre
Staging Violence in Theatre
(Staging Violence in Theatre)
- Author(s):Gamze Şentürk Tatar
- Language:English
- Subject(s):Theatre, Dance, Performing Arts, Studies in violence and power
- Page Range:97-124
- No. of Pages:28
- Keywords:Staging violence; theatre;
- Summary/Abstract:Violence is one of the disturbing phenomena in today’s society. The American political philosopher Hannah Arendt identifies the twentieth century as “a century of violence“ (1970, p. 3). Undoubtedly, violence has increased as a serious and multi-faceted public issue from the past to the present. The World Health Organization [WHO] defines it as “the intentional use of physical force or power, threatened or actual, against oneself, another person, or against a group or community, that either results in or has a high likelihood of resulting in injury, death, psychological harm, maldevelopment or deprivation” (2002). Violence derives from the Latin word ‘violentia’, meaning ‘use of power’, and it refers to all the actions that endanger the safety of life and existence of all the creatures ranging from living beings to non-living things, which emphasize the irrationality of violence. The Korean-born German philosopher Byung-Chul Han, who explores the historical change of violence from past to present in his book Topology of Violence (2011), points out that “violence is simply protean” (2018, p. vii). In other words, violence, which is encountered in every aspect of life, from public to private, varies depending on social, historical, cultural, and political conditions. Many forms of violence, such as physical violence, economic violence, verbal violence, psychological violence, and symbolic violence, may appear unexpectedly at any time. This disturbing experience in relation to violence threatens the happy and healthy development of peoples’ lives, and unless it is prevented, it continues in unbreakable vicious circles by causing physical, mental, or psychological suffering.
- Price: 2.00 €
Reclaiming Indigenous Security: Responding to Violence in Cheran, Mexico
Reclaiming Indigenous Security: Responding to Violence in Cheran, Mexico
(Reclaiming Indigenous Security: Responding to Violence in Cheran, Mexico)
- Author(s):Kristy L. Masten
- Language:English
- Subject(s):Security and defense, Studies in violence and power
- Page Range:125-144
- No. of Pages:20
- Keywords:Reclaiming; indigenous; security; responding; violence; Cheran; Mexico;
- Summary/Abstract:Cherán is a small community in the state of Michoacán, Mexico, a mountainous region covered in coniferous forests and made up of mostly Purépecha people. In 2014, Cherán became the first formally recognized Indigenous municipality in Mexico and now is governed by a series of councils chosen according to its usos y costumbres, the customary and traditional legal and social institutions of Indigenous communities (Bárcena Arévalo & Aragón Andrade, 2018). The municipality currently engages in extensive tree planting programs (Sullivan, 2018) and has one of the most robust recycling programs in Mexico (Gonzalez Covarrubias, 2019). In addition, it has been transformed into one of the safest municipalities in Michoacán over the past twelve years. How did this Indigenous community come to its current accountable, sustainably-managed, and safe way of being?
- Price: 5.00 €
Suffering Nature, Suffering Humans: After London As A Portrayal of Anthropocentric Violence
Suffering Nature, Suffering Humans: After London As A Portrayal of Anthropocentric Violence
(Suffering Nature, Suffering Humans: After London As A Portrayal of Anthropocentric Violence)
- Author(s):Kübra Baysal
- Language:English
- Subject(s):Studies in violence and power, British Literature
- Page Range:145-159
- No. of Pages:15
- Keywords:Suffering Nature; Suffering Humans; London; Portrayal; Anthropocentric Violence;
- Summary/Abstract:As a novel pioneering the disaster novel genre, and Anthropocene fiction, Richard Jefferies’s After London, or Wild England (1885) delineates a desolate London, hit along with the rest of the world, by a mysterious catastrophe, swallowed by a lake and poisoned with human-induced industrial chemicals. In the dystopian feudal society, anthropogenic environmental conditions force humans into tyranny, violence, and greed for land, and disrespect towards the lives of humans and nonhuman animals. The novel sets up a gloomy and parlous atmosphere reflecting a demolished London and deranged human beings in a post-apocalyptic order through Jefferies’s perspective and keen observation of the degradation of nature and human beings in the nineteenth century. In this respect, the negative depiction of society and nature in After London has the potential to leave a wake-up call effect on the twenty-first-century reader to develop awareness about slowing down the effects of the Anthropocene in its third phase. With this perspective, this chapter aims to analyse the novel by delving into the three-phase structure of the Anthropocene as an epoch and the Anthropocene theory itself, which generates constructive green discourse for the sustainability of the Earth and natural resources as based on the evidence signalling the rise of the epoch since the Industrial Revolution.
- Price: 5.00 €
Representations of Environmental Violence in Bilge Karasu’s “Hurt Me Not”
Representations of Environmental Violence in Bilge Karasu’s “Hurt Me Not”
(Representations of Environmental Violence in Bilge Karasu’s “Hurt Me Not”)
- Author(s):Özlem Akyol
- Language:English
- Subject(s):Turkish Literature, Studies in violence and power
- Page Range:161-174
- No. of Pages:14
- Keywords:Representations; environmental; violence; Bilge Karasu; Hurt Me Not;
- Summary/Abstract:One of the most eminent authors of 20th-century Turkish literature, Bilge Karasu (1930-1995) was defined as a “master of language” (Gürpınar, 1997, p. 72) by literary critics since he was careful while choosing the words that he used in his works and sensitive toward pure Turkish. He explored the dilemmas of the individual in daily life, loneliness, fear, and death in his oeuvre. He also created many works about the relationship between existence and thought by employing different narrative techniques, a symbolic and refined language. His well-known work Göçmüş Kediler Bahçesi (1979), which was translated into English entitled The Garden of Departed Cats (2003), consists of a frame story and thirteen independent stories making the work multi-layered, complex, and post-modern. Karasu defines his stories as fables since he blurs the realm of reality and fantasy in their plot formation. In all fables, Karasu’s characters living in modern culture experience mysterious, unpredictable, dangerous, and untamed nature. Karasu skillfully uses natural settings to discuss the dilemmas of an individual in modern life. “Hurt Me Not” is one of those fables in which the character’s dilemma in the entrapment of the consumerist society of the modern world is explored. It is the story of a teacher who leaves his hometown and moves to an island with the hope of a plain and simple life because he has “longed to be naked in a world where all people live and toil themselves, if not to weigh down their backs with clothes, then to keep warm in the bitter cold of winter” (Karasu, 2003, p. 145). Thus, it is the story of a man who thinks nothing but being naked in a world where everyone’s ultimate goal is being clothed. Being clothed obviously refers beyond its literal meaning. It metaphorically means accumulating commodities and building wealth. In the story, this metaphoric clothing is referred to as the problem of “overgrowth or giantism of the existence” (Şahin, 2021, p. 652). This problem which occurs in both teacher’s native land and on the island, makes the story an apocalyptic narrative. The apocalyptic end comes as a result of environmental violence emerging from consumerism, represented in the story through the problem of overgrowth.
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Participating in, Witnessing and Reporting Violence at The U.S.-Mexican Borderlands: Representation of Violence in The Line Becomes A River By Francisco Cantu
Participating in, Witnessing and Reporting Violence at The U.S.-Mexican Borderlands: Representation of Violence in The Line Becomes A River By Francisco Cantu
(Participating in, Witnessing and Reporting Violence at The U.S.-Mexican Borderlands: Representation of Violence in The Line Becomes A River By Francisco Cantu)
- Author(s):Özlem Atar
- Language:English
- Subject(s):Studies in violence and power
- Page Range:175-195
- No. of Pages:21
- Keywords:Participating; witnessing; reporting violence; US; Mexican; borderlands; representation; violence; river; Francisco Cantu;
- Summary/Abstract:State borders are fundamentally violent. These intimidating assemblages deploy natural and built environments to reinforce their destructive existence. They divide border communities and force migrants to seek passage through increasingly dangerous terrains. They also destroy the environment. Often, militarised border patrol agents act as tools of violence, but they also witness and may confront the brutality that borders exert on border crossers. Borders feature as prime evils in literary texts about irregular migration. This article evaluates the representation of violence in The Line Becomes a River: Dispatches from the Border (2018), a memoir by former U.S. Border Patrol agent Francisco Cantú. Two questions guide my reading: (1) How does the author define violence? and (2) What forms of violence does he portray in the memoir? I argue that Cantú characterises interpersonal violence as a learned behaviour while underlining its hereditary and structural underpinnings. As for the varieties of violence, Cantú gives the impression that his objective is to explore violence along the U.S.-Mexico border and the south of the boundary line, but when one evaluates the book meticulously, it becomes clear that his ultimate purpose is to document the violence that the “unnatural divide” (p. ix) between Mexico and the United States creates. The varieties of violence portrayed in the text range from homicide, femicide, and other forms of cartel-inflicted violence to those perpetrated by a sinister non-human influencer: the U.S. immigration and border management system. This policy-backed violence injures its targets both directly and indirectly. Cantú exposes the actual culprit by first navigating through more visible forms of violence, including migrant deaths and the psychological injuries border patrol agents sustain. He then fixes his gaze on the long-lasting, multilayered border violence that breaks families apart and renders them vulnerable to other forms of violence.
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From Anthropocene to Chthulucene: The Biomyhtography of Begotten
From Anthropocene to Chthulucene: The Biomyhtography of Begotten
(From Anthropocene to Chthulucene: The Biomyhtography of Begotten)
- Author(s):Penny Papageorgopoulou, Dimitrios Charitos
- Language:English
- Subject(s):Philosophy, Film / Cinema / Cinematography
- Page Range:197-211
- No. of Pages:15
- Keywords:Anthropocene; Chthulucene; Biomyhtography; Begotten;
- Summary/Abstract:In this paper, we present E. Elias Merhige’s experimental silent horror film Begotten (1990), a symbolic artwork drawing heavily upon the concept of the abusive, violent nature of human activity upon Earth, in an unusual, epic narrative form. More specifically, Begotten, devoid of verbal communication, yet abundant in striking, often brutal, black-and-white imagery in the vein of German Expressionism cinema and Viennese Actionism performances, confronts the audience with the ecological devastation caused by the human species, as the latter has violently exploited Earth and its earthling others for decades.
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When Home is A Prison: Pyschological Violence in Kate Chopin’s Selected Stories
When Home is A Prison: Pyschological Violence in Kate Chopin’s Selected Stories
(When Home is A Prison: Pyschological Violence in Kate Chopin’s Selected Stories)
- Author(s):Senem Üstün Kaya
- Language:English
- Subject(s):Psychology, Studies in violence and power, American Literature
- Page Range:213-225
- No. of Pages:13
- Keywords:Home; prison; pyschological; violence; Kate Chopin; selected stories; stories;
- Summary/Abstract:Violence has been one of the most notable research issues in social sciences, particularly in psychology and literature. As a widely discussed topic, psychological violence and emotional abuse are dealt with by authors via narration. One of the most prominent female authors who dealt with the emotional abuse of women in patriarchal societies is the American author Kate Chopin (1851-1904). Having observed the conditions of women during her times, Chopin dealt with the struggle of women for self-assertion in 19th century American society. Born in St. Louis, Missouri, Kate Chopin was the daughter of publicly known parents. As a child, after the loss of her father, she was raised by her mother, grandmother, and great-grandmother and was tutored at home (Beer, 2008). Although in her marriage with Oscar Chopin, Kate Chopin had no remorse for “her marriage” (Taş, 2011, p. 414), her main concern in her fiction was women’s struggle for identity in male-dominated societies. Most of Chopin’s writing bear the autobiographical imprint of her life, reflecting the effects of the restrictive construction of marriages on women and their struggle against oppressive patriarchy in late 19th century America. Her ideas reflect her desire to express the strength of women, undermine patriarchy and to raise awareness of feminine assertion (Marquand, 1998).
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Violence, Power, and Counter-Power in Anthony Burgess’s A Clockwork Orange
Violence, Power, and Counter-Power in Anthony Burgess’s A Clockwork Orange
(Violence, Power, and Counter-Power in Anthony Burgess’s A Clockwork Orange)
- Author(s):Şebnem Düzgün
- Language:English
- Subject(s):Studies in violence and power, British Literature
- Page Range:227-238
- No. of Pages:12
- Keywords:Violence; power; counter-power; Anthony Burgess; A Clockwork Orange;
- Summary/Abstract:The concept of power is multifaceted, but those studying and discussing power mainly deal with “the effects of domination, oppression, and subordination in setting the terms of social life- in identifying the agents of power and those whose lives are diminished as a result of the exercise of power” (Belliotti, 2016, p. 12). For instance, Karl Marx (1932/1988) claims that in a capitalist society, people who have money dominate those who do not have it, “[c]apital is thus the governing power over labor and its products” (p. 36). Power is not only related to economy but also to politics. In the Communist Manifesto (1848/1988), Marx and Friedrich Engels define political power as “the organized power of one class for oppressing another” (p. 231). Marx and Engels believe that there is a strict, hierarchical relationship between the repressive ruling classes and dominated working classes, but Louis Althusser (1995/2014), another Marxist critic, argues that although the ruling class has state power, power relations between the dominant and dominated classes are dynamic because the ruling classes might face “the resistance of the exploited classes” (p. 245). Friedrich Nietzsche (1901/1968), on the other hand, argues that the universe is full of conflicting forces that are in a struggle with one another to survive, and human beings, being a part of this universe, also have the driving force to live. Accordingly, he maintains that each being needs to have opponents to continue their existence. While numerous scholars have offered their unique insights on the notion of power, Michel Foucault‘s theory about power and its dynamic relationship with the oppressed is particularly illuminating. Foucault (1976/1978) posits that power is produced through the complex interplay between oppressor and oppressed, suggesting that those in power require a subjugated counter-power to define themselves. This study examines Anthony Burgess’s A Clockwork Orange (1962/2000) in light of Foucault’s theory, considering the power dynamics between the state and citizens.
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The Black Queer Body as A Site of Contested Space
The Black Queer Body as A Site of Contested Space
(The Black Queer Body as A Site of Contested Space)
- Author(s):Taylor Ajowele Duckett
- Language:English
- Subject(s):Anthropology, Gender Studies, Studies in violence and power, Victimology
- Page Range:239-252
- No. of Pages:14
- Keywords:The black queer body; site; contested; space;
- Summary/Abstract:Within the Africana worldview system, there does not exist a division regarding the mind, body, and spirit. Eurocentric hegemony distorts and disrupts one’s inherent ontological framework, causing epistemicide (Taylor, 2020), or an “ontological rearrangement” (Snorton, 2017, p. 74) which positions the Black Queer body as one to be contested. This contestation leads to the body being transgressed, which can result in recolonization and puts Queer futurity in jeopardy. Within this article, contestation is used to describe the debate regarding the right of Black Queer bodies to exist and occupy space, while transgressions encompass the different forms of violence that society has inflicted on these bodies. Using performance ethnographies, sacred texts, historical record, novels, and popular culture, this article examines the ways in which the Black Queer body has been, and continues to be, dismembered. The systemic dismemberment of the Black Queer body is an agency reduction formation (Tillotson, 2016) because it reduces the ability of the Black Queer person to situate and preserve their body. I interrogate how contestation and transgression interfere with the Black Queer body’s ability to (re)member.
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The Question of Aggressivity in Nietzsche and Pyschoanalysis
The Question of Aggressivity in Nietzsche and Pyschoanalysis
(The Question of Aggressivity in Nietzsche and Pyschoanalysis)
- Author(s):Yunus Tuncel
- Language:English
- Subject(s):Social Philosophy, 19th Century Philosophy, Psychoanalysis
- Page Range:253-264
- No. of Pages:12
- Keywords:Question; aggressivity; Nietzsche; pyschoanalysis;
- Summary/Abstract:The subject of aggressivity has had a lukewarm reception in psychoanalysis starting with Freud who acknowledged the existence of death drive and aggressivity associated with it only in his late works, starting with Beyond the Pleasure Principle (Freud, 1990). Freud gives his own reasons as to why accepting the presence of aggression in the human soul and culture is difficult, especially in his Civilization and its Discontent (Freud, 1961).It should be noted here that thinkers have had difficulty facing the truth of aggression—therefore, Freud in his early resistance was not an exception but rather a norm--and it was only with Marquis de Sade and Nietzsche that we start seeing a reversal in this fundamental area of human life and society. In this article, I will not address the way De Sade deals with the problem, but rather start with Nietzsche’s ideas and then move on to Alfred Adler and Sigmund Freud. The main point I would like to make here is that aggression is a fundamental trait in human character and soul and, if we are to address the problem of violence, we need to accept this existential fact and find ways to channel aggressive drives and inclinations into those cultural formations and practices, which enhance human life rather than diminish it. This is a point with which these three thinkers would agree with.
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Rapes, Murders, Honor Killings: Forms of Violence in Giovanni Verga’s Short Stories
Rapes, Murders, Honor Killings: Forms of Violence in Giovanni Verga’s Short Stories
(Rapes, Murders, Honor Killings: Forms of Violence in Giovanni Verga’s Short Stories)
- Author(s):Simone Pettine
- Language:English
- Subject(s):Studies in violence and power, Italian literature
- Page Range:265-277
- No. of Pages:13
- Keywords:Rapes; murders; honor; killings; forms; violence; Giovanni Verga; short stories; stories;
- Summary/Abstract:Since Giovanni Verga’s death in 1922, the works of the Catanese author have been on the agenda of literary critics. Verga’s novels and short stories, as it is known, were poorly understood between the end of the nineteenth century and the early twentieth century, but they revolutionized the way of understanding literature, both in terms of the relationship between art and reality, and above all, from a stylistic-formal point of view. An exception was represented by a friend of the author Luigi Capuana, who commented on the publication of “Vita dei campi” in 1880 with these words: “the eight short stories have turned out to be works of art that find no counterpart in our faded literature and are on a par with the most beautiful works of this kind by Sand and Auerbach” (Capuana, 1972, p. 76). Indeed, Luigi Capuana and Federico De Roberto were two of the very few colleagues to understand the revolutionary nature of Giovanni Verga’s art.
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