Modes Of Inscription Research Articles

Jenni Fagan’s The Panopticon (2012)

In her 2012 novel The Panopticon, Jenni Fagan chose to examine the possibility of emancipation from within the care system, and between the walls of an institution modelled on Bentham’s 18th century eponymous invention. Setting the adventures of Anais, an orphan and chronic offender, in that building, testifies to the persistence of the master trope of surveillance, which turns the visual world of the novel into an anxiety-ridden field of observation and control. The reference to disciplinary and punitive visuality proves particularly effective in conveying Fagan’s critique of a system that has relinquished its duty of care and devotes itself to the marginalisation and subjugation of the young delinquents it purports to rehabilitate. However the novel also inspires itself from Foucault by reminding us that the visual field of discipline is not one in which power can be exerted absolutely. In the Panopticon, surveillance elicits the resistance of the residents, who repeatedly escape the all-seeing watchtower, claim a “right to look” (Mirzoeff) and eventually bring down the dispositive of disciplinary visuality, allowing Anais’s emancipation in the process. Ultimately the narrative uses the visual paranoia of panopticism as a foil, as its young protagonist looks for practices of seeing and modes of inscription in the visual landscape that will nurture rather than discipline and punish. Far from rejecting visuality altogether, the narrative seeks out spaces where visual care and consideration constitute a response to the failure of the State system of surveillance effectively to reform or care for its citizens.

Modes of inscription and education based on Anti-Oedipus by Deleuze and Guattari

이 논문은 Gilles Deleuze와 Félix Guattari의 『안티 오이디푸스』에 나타난 세 가지 기입양식에 의한 주체형성 과정과 탈영토화의 분열증적 과정이 교육과 가지는 관련을 탐색한다. 기입양식은 사회기계의 표면, 즉 사회체에서의 작용방식과 억압하는 재현작용의 원리를 포함한다. 토지의 몸체, 전제군주의 몸체, 자본의 몸체라는 사회체는 원시 영토기계, 야만 전제군주기계, 문명 자본주의기계라는 사회기계의 표면을 이루며, 그 작동방식은 잔혹체계와 원시코드, 공포체계와 초코드, 냉소체계와 공리계이다. 사회기계의 심층에서 작동하는 억압하는 재현작용의 원리는 부채, 르상티망, 죄책감이다. 기입양식에 따라 변태, 편집증, 신경증의 주체가 형성되는데, 이 과정은 시대적 의미에서 ‘교육’이며, 수단적 의미에서 교육에 포함된다. 한편, 탈영토화의 분열증적 과정은 주인 유형의 형성이라는 능동적 힘의 우세적 관점에서 교육으로 볼 수 있다. 이 과정은 긍정적 힘에의 의지를 완성이라는 형태로 처음부터 가지고 있다.

Is It About a Typewriter? Brian O’Nolan and Technologies of Inscription

This article brings Friedrich Kittler’s media determinism to bear on a selection of works from Brian O’Nolan’s œuvre. It briefly examines Myles na gCopaleen’s play with posthuman hybrids in Cruiskeen Lawn, seeing his vignettes as extravagant, humorous depictions of the ways our bodies and symbolic order are determined by the mechanical. It then maps the movement between typed and handwritten texts in At Swim-Two-Birds, considering the progression between modes of inscription as a commentary on modernity, meaning, and presence. Despite At Swim-Two-Birds’s overt commitment to the typewriter’s mode of impersonal, mechanical assemblage, we find, at the novel’s core, inscriptions that are invested in the personal and immediate, and which are driven by intention. The novel’s modernist detachment and technological investments are underpinned by nostalgic desires, ironically and earnestly presented, for the immediacy and presence of more traditional relations with language and the text. By tracing the implications of the writing implements used by the various authors in At Swim-Two-Birds, we uncover a new aspect of the novel’s mediation between modernity and tradition.

Crossing Continents

This essay works through Ranjan Ghosh and J. Hillis Miller's co-authored work on thinking across continents. Taking both authors at their word I explore two senses of the continent, both of which threaten to wreak havoc on any simple or benevolent exercise of cross-cultural exchange. The first sense of continent pertains to continuity, a sense of extensive or connected land; a sense that is bound up with identity and capture. The second sense of continent hearkens back to restraint. Thinking about literature and its specific mode of inscription precludes any continuous or restrained plane of writing. What it might mean to think across continents would almost certainly require crossing our fixed sense of the continent out, and of writing incontinently.

The Chatter of the Visible: Montage and Narrative in Weimar Germany by Patrizia C. McBride

Reviewed by: The Chatter of the Visible: Montage and Narrative in Weimar Germany by Patrizia C. McBride Daniel Schwartz (bio) Patrizia C. McBride, The Chatter of the Visible: Montage and Narrative in Weimar Germany. Ann Arbor: University of Michigan Press, 2016. 236 pages. In her interesting and insightful book, The Chatter of the Visible, the Germanist and Musil scholar Patrizia C. McBride articulates a novel framework for approaching one of the foundational aesthetic practices of the twentieth century—montage. Rather than focus on one specific aspect of montage, McBride turns her attention to the material, cultural, and signifying practices surrounding its use in aesthetic movements ranging from Dadaism to New Objectivity. This allows her to craft a unique investigation across a range of artists and theorists, including Hannah Höch, Lazlo Moholy-Nagy, Walter Benjamin, Albert Renger-Patzsch, and Kurt Schwitters. Together these figures generate a constellation for original comparisons and novel re-articulations of an otherwise well-worn subject matter. McBride intervenes against a particular conception of montage—implicit in the work of avant-garde scholars such as Peter Bürger, Rosalind Krauss, and Jacques Rancière—that emphasizes its ability to deconstruct codes and disrupt meaning. This notion of montage as an antinarrative, antihermeneutic practice captures the fragmentary, ephemeral, and radically open-ended quality of modern experience in an age of disruptive technological change. Its bold juxtaposition of physical objects becomes a weapon against idealist and illusionist practices of aesthetic representation that stress the continuity of signification over the materiality of the signifier. Montage, on such a view, throws the detritus of the material world into the idealistic workings of hermetically and hermeneutically sealed systems of representation. McBride's book challenges this description's opposition of materiality to meaning, signifier to signified, and corporeality to narrativity. Rather than emphasize opposition, McBride stresses cross-contamination. Montage practices reveal that inscription is itself "part and parcel of [a] thing's thingness, and not simply . . . an effect of signifying strategies that superficially overlay the object" (20). Likewise, "the material status of language [is] reliant on the physical properties of specific media and modes of inscription" (20). As such, montage "does not stand in antithesis to signification but is rather the result of a complex interplay between an object's (or medium's) physical qualities and available signifying modes" (20). Montage reveals the intricate [End Page 775] weave of materiality and signification as opposed to the obstinate materiality of a mythical given.1 McBride explores this complex interplay of materiality and signification through the idea that modernist and avant-garde montage practices are not merely modes of disruption and interruption but in fact integral parts of narrative construction. To this end, she utilizes an expanded conception of narrative—one that privileges the "experientiality" of narrative practices over their function as discursive modes of sense making and signification. McBride borrows this term from the work of Monika Fludernik, according to whom experientiality is "a quasi-mimetic evocation of 'real-life' experience."2 Experientiality, for Fludernik, stresses the embodiedness of a cognitive subject in relation to their environment, as opposed to the forward motion of plot. Taking this into account, McBride argues that "[n]arrativity is the ability to perceive the relational structures engendered through repetition of embodied forms as constitutive of communicable experience . . ." (10). This reorientation of narrative around the body makes it possible to read a number of seemingly disruptive montage practices as simultaneously constructive of experience as experientiality—that is, the experience of embodied forms mimicking a techno-materialist world. McBride's book title, The Chatter of the Visible, is meant to evoke this type of experiential narrative. Montage practices "upended the uninspected conventions of a traditional, print-based culture, . . . demanding instead that words be viewed like pictures and images decoded like signs" (4). These painted words and legible images underscore the chatter of the visible, "the physiognomic belief that the visible surface of reality speaks to us in a language of sorts . . ." (4). Helping us decipher this chatter—this mesh of material modes of signification—montage not only highlights the materiality of the signifier but also allows us to construct novel ways of embodying experience. By "shaping the encounter between...

Tá serto! Só que não... argumentação, enunciação, interdiscurso

Neste artigo abordamos a relação entre discurso, enunciação e argumentação. Tomamos a argumentação como fato de linguagem com diferentes modos de inscrição na língua, na enunciação e no interdiscurso. Como tal, ela permite observar o funcionamento do político na linguagem: as divisões das línguas e dos falantes em relação aos direitos ao dizer, aos modos de dizer e às posições ideológicas (interdiscursivas) que os determinam como base de constituição das relações argumentativas. Especificamente, observamos o funcionamento da argumentação em um fato de enunciação: a delocutividade, que implica retomadas do dizer, produzindo novas formas linguísticas a partir da relação de enunciação. Analisamos duas interjeições delocutivas, Tá serto e Só que não. Ambas as formas encontram sua origem nas enunciações digitais no Brasil e sua materialidade está ligada intrinsecamente ao modo de produção e circulação da escrita no ambiente digital. Enquanto formas da língua, elas são afetadas pelos processos que participam da construção do léxico e de regularidades do sistema linguístico. A deriva das formas completas tá serto, só que não, para as formas abreviadas e seu uso como hashtags #serto, #sqn, são um traço do processo de estabilização destas formas na língua, por efeito da delocutividade enunciativa, que as incorpora às regularidades do sistema como indicadores de um modo de dizer irônico, aproximando-se no seu valor semântico-enunciativo a outros marcadores de modalização.

Conferences, tablecloths and cupboards: How to understand the situatedness of quality improvements in long-term care

Long term care needs improvement, but still little is known how quality improvement works in practice. A better, in-depth, understanding of the content and complexities of quality improvement is necessary because of the still limited theoretical and empirical grounds underlying its approach. This article draws on empirical material from Care for Better, a national quality improvement collaborative (QIC) for the long-term care sector in the Netherlands that took place from 2005 until 2012. Following a project on prevention of malnutrition, we analyzed the complex and ongoing processes of embedding improvements. The guiding question for our research was: what must be accomplished to enable and sustain improvements to occur in the everyday life of care organizations? In our analysis, we linked ethnographic findings to Actor Network Theory. We found that different kinds of work had to be done by both human and non-human actors to displace improvements into specific organizational situations. We conceptualized this work as the activity of translation. Moreover, the concept of inscription offers a perspective to reveal how improvements are made durable. Inscriptions are translations of values into texts, behavior or materialities that steer action in a specific way. We analyzed three different modes of inscription: gathering, materializing and training. We analyzed how one specific value, patient choice, became inscribed in different ways, configuring the actors in specific ways, with diverging consequences for how patient choice comes about.

Learning to See in Irmgard Keun's Das kunstseidene Mädchen

This essay examines Irmgard Keun's novel Das kunstseidene Mädchen (1932) against the backdrop of Weimar‐era discourses on the emancipatory potential of vision. While the narrative's thematization of vision has been productively analyzed from the perspective of feminist and film theory, less attention has been paid to its ties to contemporary discourses concerned with retooling a vision enhanced by new technologies like film into an instrument of emancipatory self‐fashioning. As the article shows, Keun's novel reflects critically on these discourses by casting its heroine's sentimental journey in terms of an education in vision that leads to acknowledging the distance between the visual as a mode of inscription and the visible as a domain of perception. In so doing the novel delivers a critical commentary on contemporary discourses that located agency in a conquest of the visible attained by manipulating the visual.

It's (for) you; or, the tele-t/r/opical post-human

This essay asks what kind of trope or rhetorical operation is activated by the call of the ‘post-human’? What modes of inscription does the term deploy? I argue that the ‘post-ing’ of the human proceeds by refiguring of the ‘human’ as telephone or screen, as a surface that registers the action or presencing of the inhuman via an overwhelming apostrophe or prosopopeia. Allied to this call is a refiguring of the ‘post-humanities’ as an inquiry into how the modeling of non-human entities inflects the constitution of a common world, leading us to embark on a quest for less lethal or more friendly modes of inscription or writing. The philosophical movement known as ‘speculative metaphysics’ provides a rubric for this quest and so for a speculative literary history that would refigure our contacts with the textual traces named ‘past’ as a contact zone with alternate ways of being.

The ghost in the mother: strange attractors and impossible mourning.

The Ghost in the Mother: Strange Attractors and Impossible MourningEdward EmeryEdward Emery1. 15 Brewster Court, Northampton MA 01060. [email protected]Search for more papers by this authorPublished Online:June 2005https://doi.org/10.1521/prev.89.2.169.19918PDFPDF PLUS ShareShare onFacebookTwitterLinkedInRedditEmail ToolsAdd to favoritesDownload CitationsTrack Citations AboutReferencesAbraham , N. & Torok,. (1986). The Wolf Man's magic words. Minneapolis: University of Minnesota Press. Google ScholarAnzieu , D. (1990). Psychic envelopes. London: Karnac Books. Google ScholarBarthes , R. (1978). A lover's discourse. New York: Hill & Wang. Google ScholarBlanchot , M. (1992). The step not beyond. Albany: State University of New York Press. Google ScholarDeleuze , G. (1968). Difference and repetition. New York: Columbia University Press. Google ScholarDeleuze , G. (1989). Cinema 2: The time image. Minneapolis, MN: Athlone Press. Google ScholarDeleuze , G. (1994). A thousand plateaus. Minneapolis: University of Minnesota Press. Google ScholarDerrida , J. (1994). Specters of Marx. London: Routledge. Google ScholarDerrida , J. (1986). Foreword. The Wolf Man's magic words. Minneapolis: University of Minnesota Press. Google ScholarEmery , E. (1992). On dreaming of one's patient: Dense objects and intrapsychic isomorphism. Psychoanal. Rev., 79: 509–535. Medline, Google ScholarEmery , E. (1997). Mnemosyne: Death, memory, and mourning. J. Melanie Klein and Object Relations, 15: 397–416. Google ScholarEmery , E. (2000). Facing “O”: Wilfred Bion, Emmanuel Levinas, and the Face of the Other. Psychoanal. Rev., 87: 799–840. Medline, Google ScholarMarion , J. L. (1991). God without being. Chicago: University of Chicago Press. Google Scholar Previous article Next article FiguresReferencesRelatedDetails Cited byCited by1. When the Good Object is also a Thief: A Memoir of AdoptionOnline publication date: 22 April 2022. Go to citation Crossref Google Scholar2. An Allegiance To Absence: Fidelity To The Internal VoidOnline publication date: 11 December 2018. Go to citation Crossref Google Scholar3. From Idol to Icon: The Politics of MourningOnline publication date: 15 August 2013. Go to citation Crossref Google Scholar4. Working Obliquely with ChildrenOnline publication date: Go to citation Crossref Google Scholar5. Idolization mourning and catastrophe: transfiguring religious fundamentalismOnline publication date: 15 April 2009. Go to citation Crossref Google ScholarEdward Sieveking Emery6. In the Light of Mourning: Spiritual Transformations Between Trauma and PresenceOnline publication date: 22 August 2008. Go to citation Crossref Edward Sieveking Emery7. Specters of Democracy: Dense Objects and States of MourningOnline publication date: 27 April 2006. Go to citation Crossref Vaia Tsolas8. The Other of the Body and the Language of the MarginsOnline publication date: 6 July 2005. Go to citation Crossref Volume 89Issue 2Apr 2002 Information© Guilford Publications Inc.PDF download