Heterotopic Space Research Articles

JULIAN BARNES’ ENGLISH ISLANDS AS HETEROTOPI

In the article J. Barnes’ novel «England, England» is considered through the prism of the Foucaultian concept of «heterotropia»; complicity and functioning ambiguity of this concept in the literary studies area is traced and taken under attention, how basic traits of Foucaultian concept work and uncover in the artistic world of Barnes’ novel, where presented images of two islands, that function due to heterotopia spaces rules.During last decades post-nonclassical epoch has added to its significant arsenal of different «turns» also the turns «of space», which initiator was M. Foucault. Implanted into lectures, destined to architects, term «heterotopia», and emphasized on the changes, that occurred with the space nature, philosopher has not given any explanations about occurred changes, what gives possibility to wide treatment and usage in different spheres of humanitarian sciences.Literati are trying to use this term in their exploring service, pointing out that it requires to an appropriate coordination with existing art creation exploring technics in the literary studies. At the same time we cannot deny thought about literary text as always «another place», comparing to all other texts, performs as heterotopia with increased significance of internal relative-reflections and relative-interweaving of new connections and meanings, that is why precisely balanced literary studies of heterotopia is the evidence of not stereotyped and intelligibility of scientific thinking and reaction on certain artistic texts, in which space heterotopia nature is actualized (but not only geographical), which demands relevant analytic strategies.The attempt to read J. Barnes’ novel «England, England» in terms of heterotopia idea is dictated by text self-intention, in which two heterotopias — Island, created by powers of Jack Pitmen’s team as a copy of Great Britain, and island, on which Good Old England is situated, coexist; and inside these heterotopian spaces also exist nodes of other heterotopian relations: heterotopia of memory, history, main heroes’ individual consciousness and so on.Overall island phenomenon is extremely valued by European culture and English literature especially, in respect which researchers have already started talking about existence inside it specific «island text». Islands, created by Barnes’ demanding imagination and fabulations illustrate the best these thesis of French philosopher, that compose basic principles Foucaultian heterotopia spaces. First of all, these islands exist in co-reflections and co-images, as well as people exist there as in the beyond mirror, virtual reality (Foucault’s principle of the «mirror»). This way of existence enables execution of utopias and island Wight becomes «realized utopia», this way it demonstrates the second important Foucaultian principle. Thirdly, heterotopias accompany with heterochronies, while on island Wight, as well in Old England, socio-cultural and aesthetic objects overflow and combine and they belong to absolutely different times and places. Also some other Foucaultian principles of heterotopia are exposed in Barnes’ novel. Barnes’ isles are opened to all visitors and at the same time closed, they are isolated either compelled from the whole world, like Old England, or their isolation is dictated by administration strategies, as island Wight, on which you can get only with the permission from the government. Actually, touristic Wight atmosphere, where travelers and holiday-makers are only having fun, also forms deviant behavior, not corresponding to the lifestyle of the world, especially of England, where work takes much more time than leisure.We should also take into account heterogeneous nature of person’s internal world, that makes it more obvious in his heterotopian consciousness, in his internal life space, that reads as a route of personality to its self. Marta Cochrane’s history is a bright example of heterotopias of isles, on which she was, cross over and interact with plural heterotopias of her consciousness, memory, memoirs, passions.Overall, the phenomenon of island as immanently heterotopian space, separated and opposed to the other world, where in unpredictable and ridiculous looks cross over and coexist different fragments and forms of people’s existence and space configurations, contains potentials to deep studies of heterotopias, however the question, whether each island, depicted in the English literature is a complete heterotopia, can it still be decided only during the process of further scientific investigations, that seem to be important for the contemporary literary studies.

The Foul and the Fragrant in Urban Exploration: Unpacking the Olfactory System of Leisure

The world of leisure is a sensual reality, especially strong with the odours of what the French cultural historian Alain Corbin gave the name ‘the foul and the fragrant’, and their emotional affects. Yet, when it comes to unpacking leisure in a critical way the significance and complexity of the olfactory system of institutions and norms is largely overlooked in leisure studies. What is more, although smell is something that shapes our leisure and which we all instinctively recognise it buckles under the pressure of leisure studies obsession with the visual and the verbal. It is with this in mind that this paper, drawing on my own ethnographic research, offers a critical assessment of the ways in which the olfactory system emerges in a form of leisure known as urban exploration. One important way of defining urban exploration would be to say that its adherents have the need for authentic leisure experience which is, for the most part, unmediated by deodorisation. As well as being viewed as ‘deviant’, ‘abnormal’ or ‘heterotopic’ - and because of this - urban exploration takes advantage of the olfactory system as it is used to stimulate fears, pleasures and the broader imagination as a different ‘taste’ of life is experienced. Following an introductory episode that draws the reader into the world of a group of urban explorers that is oozing with the earthy smells of decay and the honey tang of piss, the first section of this paper employs the seminal work of Corbin to unpack how modernity, which never ceases to evolve and transform, continues to have a powerful influence on social space and the olfactory system. What emerges from this discussion, though, is the suggestion that it is the other side of modernity (the one that operates under a certain poetics of putrefaction) that is also the perfect breeding ground for inflaming both the magical and painful feelings of nostalgia by exploiting this olfactory system. Thereafter, using Tony Blackshaw’s concept of the mundane and spectacular, the paper goes on to expand this idea by arguing that ‘the foul and the fragrant’ play a crucial role in the creation of heterotopic social space and its essential performativity.

Shadowy Lines and Flowing Spaces: Amitav Ghosh’s Heterotopic Imagination in The Shadow Lines

Amitav Ghosh’s The Shadow-Lines is a classic exposition of the Foucauldian notion of heterotopic space. The novel, through its exclusive engagement with the notion of space both in the Indian subcontinent and outside, subtly brings out the former’s immensely heterogeneous and inherently conflictual character. In today’s world, as Foucault would categorically assert, we live in a space that is not unified and homogeneous, rather one that is complex, heterogeneous and is filled with many inherently contradictory characters. This is, in his words, a heterotopic space – a space that perhaps most suitably demonstrates our contemporary mode of existence. In the novel, as we can explicitly notice, there are various events and episodes occurring in certain spaces in a scenario where these spaces are filled with multiple transnational and cosmopolitan characters despite they being located in specific locales. They are heterotopic spaces. The text, through various transnational events and episodes that encompass the pre and post-independent times in the subcontinent, overtly exemplifies how these heterotopic spaces defy all notions of structuration, stability, confinement and territoriality for theyare fluid, indeterminate and perennially fluctuating. Based on these precepts, this article intends to analyze the fickle and indeterminate nature of the heterotopic space that permeates across the textual landscape of the novel – a space that is filled with multiple transnational and cosmopolitan significations.

『워더링 하이츠』에 나타난 유토피아와 헤테로토피아 : 1세대 캐서린을 중심으로

This paper explores the way utopia and heterotopia are constructed and dismantled in Wuthering Heights with a focus on Catherine Earnshaw’s resistance within Thrushcross Grange. According to Michel Foucault, heterotopia is a specific place in a real world, which yet partakes of utopian impulse through the heterogeneous deployment of utopian desire. While Thrushcross Grange stands as a typically patriarchal place in the symbolic order, it also exists as a place of heterotopia since Catherine, the wife of Edgar Linton, does not give up her utopian dream and struggles against the patriarchal assumption that posits woman as the possession of husband. She combatively refuses to be ‘an angel in the house,’ an ideal woman of the Victorian age, but tries to embed and enact her own desire within the domestic space. While Catherine’s struggle to construct heterotopia fails after all with her delirium and death, it remains as a powerful and resounding excess, making room for a literary place of affect and transgression in Wuthering Heights. Significantly, if Catherine’s resistance for a heterotopian space is her ‘appropriation’ of the patriarchal order, the way Heathcliff revenges on Hindley and Edgar is sort of ‘representation’ since he repeats or at most parodies the patriarchal system in his revenge. The account of Catherine’s heterotopian resistance against the conventional division of space is in a similar vein with the minority’s transgression in an opaque and oppressive place, and underlines the power of microscopic resistance within a place.

Of Mirrors and Bell Jars. Heterotopia and Liminal Spaces as Reconfigurations of Female Identity in Sylvia Plath

The poetry of Sylvia Plath (1932–1963) has received a considerable number of critical responses, among which spatial analysis occupies a minor position, although her texts explore complex relationships between subject and context. Drawing from a threefold theoretical apparatus (Bachelard’s theory of the poetic space, the Foucauldian concept of heterotopia, and the trope of liminality), this article focuses on the analysis of Plath’s increasing use of in-between spaces and objects of transition and transformations (mirrors, thresholds, windows), as well as on her predilection for heterotopic and alienating sceneries (hospital rooms, cemeteries), in both her poetry and prose. The study first acknowledges Plath’s choice of spatial imagery as a progressive orientation towards transitional states and places of otherness and ambivalence. Then, it highlights the specific role of heterotopic and liminal spaces in the process of reconfiguration of female identity. Given the impossibility for the female subject to rely on imprisoning domestic spheres to suture the edges of her fragmented self, reconceptualization of her own consciousness only becomes possible in the movement across a threshold. The analysis finally determines that the poetic evocation of spaces of conflict and difference paradoxically contributes to the shaping of female identity.

Staying in a fallout shelter: exploring ostalgia through post-socialist heterotopia

This article details our attempts at making sense of an ostalgic heterotopic space. We relay here our analysis of staying in and exploring a disused air raid shelter built during WWII, converted into a fallout shelter at the beginning of the Cold War and recently repurposed in an anti-communist museum/tourist hotel/ostalgic canteen called 10Z Bunker. As we enter the subterranean tunnels packed with memorabilia from an indistinct ‘past’, we strive to shed some light on the dim heterotopic space we found. We explore the intersection of material objects and partly refurbished underground spaces and employ the concept of heterotopia to understand how ostalgia is enmeshed with anti-communism in this commodified history display. We argue that the heterotopic (and heterochronic) nature of the display allows for stripping ostalgia of its disruptive potential to challenge the prevailing narratives of Western domination and using it to further the anti-communist meaning promulgated by the 10Z Bunker.

Picturing Soviet Childhood

Using the key concept of socialist realism as interpretational frame, the paper investigates the visual construction of the spaces of the ‘happy Soviet childhood’ in provincial contexts. Sources are photo albums of pioneer summer camps from the 1960s and 1970s situated in the southern Urals and in the Moscow region, interviews with former camp leaders, and instruction materials. The elaborate albums were conceived as internal reports for local authorities and submitted to a regional competition for the best camp. As adult narrations of a happy childhood, the albums are part of a cultural system that created and represented a specific topography of Soviet happy childhood. At the same time, the photographic reports are witnesses of the gaze upon this childhood. The paper explores not so much the single photographs, but the albums as artefacts. The emphasis is on the social practices surrounding the (re)production of the images and narrations by making, choosing and arranging photographs with slogans and emblems in the albums. The visual approach is combined with a spatial one: The summer camps were part of a Soviet topography of childhood offering heterotopic spaces in the context of the Soviet cult of childhood. They also provided the opportunity, namely for women, to escape temporarily from the mind-numbing and controlled spaces of work and family chores.

다자이 문학에 나타난 헤테로토피아와 정체성의 정치 - 『기다리다』, 『판도라의 상자』를 중심으로 -

This paper examines the spatial thinking found in the Dazai literature. By applying Foucault’s concept of heterotopia and space theory to analyze, this paper aims to analyze the characteristics the Dazai literature, thereby, illuminating its identity politics. The small station in 『Waiting』 is a marginal space where time and space criss-cross. The act of waiting reflects the internal sense of anxiety and expectation. But the spatial boundaries of waiting are crossed when the active action of “going to wait” is pursued. This is aligned with “heterochronie”. 『Pandora’s box』 narrates the story of a limited, isolated space of a ‘tuberculosis nursing home”. The space is the main character’s alternative space, but when it is transformed into a heterotopic space, it starts to insert influences in the character’s internal space as well. This creates an opportunity for realizing one’s identity, as the boundaries are expanded as the rules of reality break apart. Hence, the analysis of the heterotopic boundary transcendence in the works of Osamu Dazai leads to identity politics, imbuing new meanings to the Dazai literature.

Heidegger, Heterotopic Dwelling and Prehistoric Art: An Initial Indication of a Field of Research

This paper begins to develop an interpretation of European cave art based on Martin Heidegger’s account of artistic production and ‘dwelling’ so as to indicate a potentially rich area for future research. The paper will also draw on Foucault’s account of heterotopic space and will engage with one of the key researchers on the archaeology of cave art, Randall White. The role of a work of art for Heidegger is to hold open a world. Art enables a decision to be made by a group regarding how things are going to matter for, and to, them as dwellers in their world. Works of art, on Heidegger’s account, put up for decision what will count as the highest values (the gods) for a group while determining what will prove essential for human dwelling in a world. With reference to Foucault, it will be suggested that caves are a good candidate for a heterotopic space. Caves are uncanny, numinous spaces and because of this, I suggest, they enable human beings to produce art as a world-opening event. I suggest that there is something significant about human experience in caves and I attempt to make a connection between heterotopic space, dwelling, and the art of the last Ice Age in Europe in order to point towards a novel field of research: dwelling and prehistoric art.

The Enigma of Identity: A Reading of Anil’s Ghost by Michael Ondaatje

In this paper I aim at analysing the composite, postcolonial, multicultural and transnational nature of identity emerging in Michael Ondaatje’s Anil’s Ghost , most prominently in the protagonist Anil Tissera. My work progresses through two distinct stages: in the first part I discuss the quality and inner contradictoriness of this developing form of identity using the tools of postcolonial criticism and diaspora studies , basically focusing my attention on the ways in which Anil’s identity undergoes modifications that may also appear ambiguous during her journey from Sri Lanka to England first and US later. Ideologically, that passage brings her from the periphery to the centre of the postcolonial world. In the second part of this paper I intend to shift my atten- tion on how Anil needs to come to terms with the conflicting issues at the very roots of her identity formation as an expatriate: in this section of my work I will also employ Caruth’s Unclaimed Experience , a fundamental text in trauma studies, in order to explain how the effects of past traumatic experiences are mainly responsible for disorientation and alienation in a diasporic subject. This dilemma becomes particularly manifest in the case of an exile’s home- coming, such as Anil Tissera in Anil’s Ghost . DOI: 10.17456/SIMPLE-104 Bibliography Bolland, John. 2004. Michael Ondaatje’s Anil’s Ghost : Civil Wars, Mystics, and Rationalists. Studies in Canadian Literature/Etudes en Litterature Canadienne , 29, 2: 102-121. Brians, Paul. 2003. Modern South Asian Literature in English . Westport: Greenwood. Burton, Antoinette. 2003. Archive of Bones: Anil ’ s Ghost and the Ends of History. Journal of Commonwealth Literature , 38, 1: 39-56. Burrows, Victoria. 2008. The Heterotopic Spaces of Postcolonial Trauma in Michael Ondaatje’s Anil’s Ghost . Studies in the Novel , 40, 1-2: 161-177. Caruth, Cathy. 1996. Unclaimed Experience: Trauma and the Possibility of History . Baltimore: Johns Hopkins University Press. Cook, Victoria. 2005. Exploring Transnational Identities in Ondaatje’s Anil’s Ghost . Steven Totosy de Zepetnek ed. Comparative Cultural Studies and Michael Ondaatje’s Writing . West Lafayette: Purdue University Press, 6-15. Davis, Emily S. 2009. Investigating Truth, History, and Human Rights in Michael Ondaatje’s Anil ’ s Ghost . Nels Pearson & Marc Singer eds. Detective Fiction in a Postcolonial and Transnational World . Farnham: Ashgate, 15-30. Harting, Heike. 2003. Diasporic Cross-Currents in Michael Ondaatje’s Anil’s Ghost and Anita Rau Badami’s The Hero’s Walk. Studies in Canadian Literature , 28, 1: 44-70. Mowat, Ryan. 2013. An Aesthetics of War: The Postcolonial Ethics of Anil’s Ghost. Journal of Postcolonial Writing , 49, 1: 28-39. Ondaatje, Michael. 2000. Anil’s Ghost. London: Picador. Quayson, Ato. 2013. Postcolonialism and the Diasporic Imaginary. Ato Quayson & Girish Daswani eds. A Companion to Diaspora and Transnationalism . Chichester: Blackwell, 139-159. Safran, William. 1991. Diasporas in Modern Societies: Myths of Homeland and Return. Di- aspora: A Journal of Transnational Studies , 1, 1, Spring 1991: 83-99. Tsuda, Takeyuki. 2013. When the Diaspora Returns Home: Ambivalent Encounters with the Ethnic Homeland. Ato Quayson & Girish Daswani eds. A Companion to Diaspora and Trans- nationalism . Chichester: Blackwell, 172-189.

Diaspora in dialogue: Zimbabwean artists in South Africa

In the last two decades, a continuous migration of people into South Africa from Zimbabwe has increasingly foregrounded intractable philosophical questions concerning the complexities of “displacement”, and “place”, inherent to which are notions of “national identity” (the autochthonous and different peoples) and “home”. Neatly distanced academic reflections often reduce the Zimbabwean migration story to measurable motivations and statistics, and disturbingly, do little to check violently xenophobic associations between émigrés and malignant tropes of societal decay. In this paper, I propose an alternative view, based on the belief that personal narrative and self-reflexive dialogue regarding art-making and its exigencies hold the potential to produce a deeper philosophical insight into the increasingly diasporic human condition, which is needed both to undo malicious stereotyping and to validate the contributions made by migrant identities to the decolonial project. The article engages with three Zimbabwean artists living and working in post-apartheid South Africa, Ronald Muchatuta, Gerald Machona and Vulindlela Nyoni. Just as our artworks act as invitations to enter into difficult, heterotopic spaces, I invite you into a self-reflective textual space that enacts the ambivalence and uncertainty at the beginning of an investigation in which questions are generated. My aim is not to offer neatly packaged answers, but to open the reader, through the text as artwork, to an experience of the dialogical fissures, gaps, silences and contradictions that (in a way foreclosed to any coherent account) reveal the traumatic ambivalence of diaspora experiences in the moment of “being unspoken”.

Of hideouts and heterotopias

Marcelo Pineyro’s Kamchatka (2002) and Benjamin Avila’s Infancia clandestina (2011) are important examples of the recent cultural turn towards child protagonists in cinematic representations of Argentina’s last military dictatorship. Both films reflect, to different extents, an emergent tendency to invest child protagonists with an increasing degree of narrative agency as they negotiate the dangers of clandestine life from within their safe houses. This article will argue, drawing on the work of Michel Foucault, that the liminality of the domestic spaces in these films reflects the similarly ‘heterotopic’ nature of childhood itself. By focusing on the distinctions between the two films’ representations of children’s interactions with and within the safe house, this study will emphasize the intergenerational tension that these films express through the presentation of a domestic sphere that has lost its security and stability, and instead become a heterotopian space of transience, vulnerability, and crisis.

Strangers in the Shadows – An Exploration of the ‘Irish Boarding Houses’ in 1950s Leicester as Heterotopic Spaces

Existing research regarding the Irish immigration experience in England tends to focus on the push and pull factors which promoted the search for a better life ‘across the water’ (Garrett, 2000; Ryan, 2008) or the specific mental and physical health experienced by the Irish resident in England (Aspinall, 2002; Raftery et al., 1990). This paper adopts a different stance. Using Foucault’s concept of heterotopias (Foucault, 1986; 1994;) as a heuristic, the paper focuses on the ‘boarding houses’ of Leicester, England in the 1950s and 1960s in which many Irish men lived upon their arrival in England. Drawing on Irish men’s oral histories, I consider how these quintessential properties may be construed as worlds within worlds, placeless places and non-homes. The spatial and other strategies deployed by the landlords/ladies as a means of disciplining and controlling the lodgers are exposed. The paper also explores how the distinctive vernacular landscapes of the boarding houses were laden with multiple juxtapositions, including the interface between materialism and maternalism and productive/non-productive labour. The distinctive existentialist form of temporality evoked by men’s stories of boarding house life suggests that the passage of time was accumulated but never recorded.

Strangers in the shadows – an exploration of the ‘Irish Boarding Houses’ in 1950s Leicester as heterotopic spaces

Existing research regarding the Irish immigration experience in England tends to focus on the push and pull factors which promoted the search for a better life ‘across the water’ (Garrett, 2000; Ryan, 2008) or the specific mental and physical health experienced by the Irish resident in England (Aspinall, 2002; Raftery et al., 1990). This paper adopts a different stance. Using Foucault’s concept of heterotopias (Foucault, 1986; 1994;) as a heuristic, the paper focuses on the ‘boarding houses’ of Leicester, England in the 1950s and 1960s in which many Irish men lived upon their arrival in England. Drawing on Irish men’s oral histories, I consider how these quintessential properties may be construed as worlds within worlds, placeless places and nonhomes. The spatial and other strategies deployed by the landlords/ladies as a means of disciplining and controlling the lodgers are exposed. The paper also explores how the distinctive vernacular landscapes of the boarding houses were laden with multiple juxtapositions, including the interface between materialism and maternalism and productive/non-productive labour. The distinctive existentialist form of temporality evoked by men’s stories of boarding house life suggests that the passage of time was accumulated but never recorded.

A Transformative Journey: Making A Tempest in Postcolonial India

This article is based on the author's production of Aimé Césaire's A Tempest in India. Guided by the concept of transculturation, a key concern of Kamaluddin Nilu in the working process was to develop positions that could be considered parallel to those of Césaire. The topographical condition of present-day India is interpreted as ‘internal colonialism’, locked in differences within, and presented through a double-framed vision. The parallel to ‘black subjectivity’ was found to be the Dalits, who suffer from systematic discrimination and are segregated from the main social body. Further, when adjusting the text to ‘India's world’, the notion of a ‘third space’, benefiting from the performance matrix of the traditional ritualistic performance Ram Lila as well as a heterotopian space concept, was crucial. The intention to make a theatre production that could give the audience an opportunity to engage in a political debate on the hierarchical nature of Indian society was fulfilled. Breaking the established postcolonial political myth meant that the audience was faced with the unexpected. In such cases an indirect or parabolic performance mode of communication rather than a synergetic one becomes likely. Kamaluddin Nilu is an independent theatre director and researcher affiliated with the Centre for Ibsen Studies, University of Oslo. He is currently a Research Fellow at the International Research Centre ‘Interweaving Performance Cultures’ at the Freie University, Berlin. He was Chair Professor of the Theatre Department at Hyderabad University in India, and Artistic Director of the Centre for Asian Theatre (CAT) in Dhaka.

The art of dialogic silence in the way of tea: rethinking space and time for contemplation

In this article I explore silence as dialogue in human communication and address its relevance to silence in heritage sites and museums. Instead of treating silent responses as negative or pedagogical failure, I approach silence from an eclectic perspective informed by linguistic philosophy, social anthropology and cultural psychology and present an analysis of dialogic silence in relation to the nearly 500-year-old ritual practice of Chado, commonly known as the Japanese tea ceremony. I engage with key concepts of dialogue and silence in order to draw parallels between museums and heritage sites on one hand, and the practice of Chado, performed in the tearoom, on the other. I suggest how the performance of ritual in the Chado tearoom takes place in a heterotopic and heterochronic space of dialogue and of contemplation in silence, where people set aside the concerns of everyday life in a suspended time away from an otherwise unpredictable and violence-prone world. I then argue that heritage sites and museums can be seen as spaces of contemplation akin to the space of the tea ceremony, a comparison which offers an alternative perspective on the crisis of representation, the limitations of language and the problem of visitor fatigue.

A Time to Live and a Time to Die: Heterotopian Spatialities and Temporalities in a Pediatric Palliative Care Team

ABSTRACTThe death of a child creates especially poignant feelings and extreme stress, distress, and devastation for family members and healthcare providers. In addition, serious or long-term illness forces a reconstruction of our experiences with time and space. In this paper, we report on a long-term ethnographic study of a Pediatric Palliative Care Team (PPCT). Using the concepts of spatiality and temporality; Deleuze’s concepts of smooth and striated spaces; Innis’s concepts of space and time biases; Foucault’s concept of heterotopian space—places with multiple layers of meaning; and a related concept of heterokairoi—moments in time with multiple possibilities—we consider how the PPCT constructs and reconstructs meaning in the midst of chaos, ethical dilemmas, and heartbreaking choices.

*In the Heart of the Country* and Pain: Re-reading Space, Gender and Affect

This essay offers a new spatial reading of In the Heart of the Country. It explores J. M. Coetzee’s interest in grounding white female narrators in heterotopic spaces which, while marked by terror and racial divisions, simultaneously enforce proximity and intimacy across the racial bar. It shows that grounding Magda within the specific phenomenology of the farm enables Coetzee to explore a set of traumatic double-binds which are not only discursive but also sensorial, psychic as well as affective. It concludes by arguing that the strong self-referentiality of the novel can itself be read as an affective symptom, the trace of psychic parceling which happens at the intersection of space, symbol and traumatic power relations.

Espacios textuales para la memoria del trauma: la corporalidad dictada en Dictée.

Theresa Hak Kyung Cha (1951-1982) publica en 1981 <em>Dictée</em>, un proyecto textual que explora los límites de la autobiografa. Este incatalogable experimento ronda de manera especial las problemátcas que afectan a la escritura y la imagen como herramientas para elaborar la memoria. Situado en la brecha que abren ciertas poétcas elaboradas desde el trauma, en él Cha pone en cuestón las implicaciones de género, etnicidad y de exilio y diáspora desde la posición del estar entre, habitando un in-between que consigue tensionar los enfoques dicotómicos. Aquí se trata, por tanto, de exponer aspectos de interés del proyecto textual <em>Dictée</em> en relación con otros proyectos autobiográfcos elaborados por mujeres que cuestonan las posibilidades de la escritura para contarse, asumiendo esa posición de ser un sujeto que está “entre”. El “entre” puede entenderse como un espacio heterotópico propio de las condiciones de diáspora y de las culturas del trauma. Para Cha el dictado funcionará como paradigma de un lenguaje, una cultura y una memoria que se imponen y que afectan a la construcción de la subjetvidad. A partr de ello se trazan las relaciones entre escritura y corporalidad; asimismo la importancia de la voz y la oralidad que concurren en muchas de estas praxis textuales, en discrepancia con los modos narratvos de los regímenes escriturarios.

The Cinematic Space in Stephen Daldry’s The Hours: A Heterotopian Perspective

The film The Hours directed by Stephen Daldry is based on an experimental novel in which three women from detached places and eras are interlinked by the book Mrs Dalloway. Given that, its sense of simultaneity and spatial heterogeneity is quite obvious. Adopting the notion of Heterotopia proposed by Michel Foucault, the current paper analyzes the juxtaposed construction of space and time in The Hours. It examines how the editing, recurring imagery and coherent motives in The Hours function in order to construct heterotopian space and to shed light upon central themes such as alienation, sexual identity and death. Through these meticulous filmmaking techniques, the film not only transfers the collapse and confluence of time and space from text to the screen, but also retouches its postmodernist aesthetics and social reflectivity, offering a thought-provoking viewing experience for the audience