Some of the most radical criticism coming out of the West today is the result of an interested desire to conserve the subject of the West, or the West as Subject. The theory of pluralized ‘subject-effects’ gives an illusion of undermining subjective sovereignty while often providing a cover for this subject of knowledge. Although the history of Europe as Subject is narrativized by the law, political economy, and ideology of the West, this concealed Subject pretends it has ‘no geo-political determinations.’ The much publicized critique of the sovereign subject thus actually inaugurates a Subject. . . . This S/subject, curiously sewn together into a transparency by denega­ tions, belongs to the exploiters’ side of the international division of labor. It is impossible for contemporary French intellectuals to imagine the kind of Power and Desire that would inhabit the unnamed subject of the Other of Europe. It is not only that everything they read, critical or uncritical, is caught within the debate of the production of that Other, supporting or critiquing the constitution of the Subject as Europe. It is also that, in the constitution of that Other of Europe, great care was taken to obliterate the textual ingredients with which such a subject could cathect, could occupy (invest?) its itinerary not only by ideological and scientific production, but also by the institution of the law. ... In the face of the possibility that the intellectual is complicit in the persistent constitution of Other as the Self’s shadow, a possibility of political practice for the intel­ lectual would be to put the economic ‘under erasure,’ to see the economic factor as irreducible as it reinscribes the social text, even as it is erased, however imperfectly, when it claims to be the final determinant or the tran­ scendental signified. The clearest available example of such epistemic violence is the remotely orchestrated, far-flung, and heterogeneous project to constitute the colonial

/pdf/can-the-subaltern-speak-4xfabswzbh.pdf

Can the Subaltern Speak

https://isiarticles.com/bundles/Article/pre/pdf/118.pdf

Rethinking authenticity in tourism experience

Scholars have vacillated for centuries between two opposing assessments of the role of poetics in social life. A long tradition of thinking about language and society argues that verbal art provides a central dynamic force in shaping linguistic structure and linguistic study. This position emerges clearly in the writings of Vico, Herder, and von Humboldt; attention from Sapir, the Russian "Formalists," and members of the Prague School to the role of poetics contributed to the development of performance studies and ethnopoe­ tics in the last two decades. Nonetheless, poetics has often been marginalized by anthropologists and linguists who believe that aesthetic uses of language are merely parasitic upon such "core" areas of linguistics as phonology, syntax, and semantics, or upon such anthropological fields as economy and social organization. The balance between these two views shifted in favor of poetics in the late 1970s and early 1980s as a new emphasis on performance directed attention away from study of the formal patterning and symbolic content of texts to the emergence of verbal art in the social interaction between performers and

Poetics and performance as critical perspectives on language and social life

To raise the question of the nature of narrative is to invite reflection on the very nature of culture and, possibly, even on the nature of humanity itself. So natural is the impulse to narrate, so inevitable is the form of narrative for any report of the way things really happened, that narrativity could appear problematical only in a culture in which it was absent-absent or, as in some domains of contemporary Western intellectual and artistic culture, programmatically refused. As a panglobal fact of culture, narrative and narration are less problems than simply data. As the late (and already profoundly missed) Roland Barthes remarked, narrative "is simply there like life itself. . international, transhistorical, transcultural."' Far from being a problem, then, narrative might well be considered a solution to a problem of general human concern, namely, the problem of how to translate knowing into telling,2 the problem of fashioning human experience into a form assimilable to structures of meaning that are generally human rather than culture-specific. We may not be able fully to comprehend specific thought patterns of another culture, but we have relatively less difficulty understanding a story coming from another culture, however exotic that

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The Value of Narrativity in the Representation of Reality

The effective practice of medicine requires narrative competence, that is, the ability to acknowledge, absorb, interpret, and act on the stories and plights of others. Medicine practiced with narrative competence, called narrative medicine, is proposed as a model for humane and effective medical practice. Adopting methods such as close reading of literature and reflective writing allows narrative medicine to examine and illuminate 4 of medicine's central narrative situations: physician and patient, physician and self, physician and colleagues, and physicians and society. With narrative competence, physicians can reach and join their patients in illness, recognize their own personal journeys through medicine, acknowledge kinship with and duties toward other health care professionals, and inaugurate consequential discourse with the public about health care. By bridging the divides that separate physicians from patients, themselves, colleagues, and society, narrative medicine offers fresh opportunities for respectful, empathic, and nourishing medical care.

/pdf/narrative-medicine-a-model-for-empathy-reflection-profession-4n1xbk2y8w.pdf

Narrative Medicine: A Model for Empathy, Reflection, Profession, and Trust

Nuclear Piece: Memoires of Hamlet and the Time to Come@@@Memoires: For Paul de Man@@@Hamlet@@@"Nuclear Criticism."

HETORIC," claimed I. A. Richards in his Philosophy of Rhetoric, "should be a study of misunderstanding and its remedies. We struggle all our days with misunderstandings, and no apology is required for any study which can prevent or remove them." The contributors to this issue of New Literary History could doubtless claim that their essays prevent future misunderstandings of the subjects they treat and remove misunderstandings perpetrated by previous discussions, but none, I think, would argue that this makes his essay rhetorical analysis. Students of rhetoric today are not primarily concerned, as Richards proposed, with failures of communication, nor with "weasel words" and the deceits of political discourse. Has rhetoric, then, regained the scope it enjoyed in the Middle Ages, when logic, grammar, and rhetoric were the three subjects of the trivium? For Stanley Meltzoff, who alone among our contributors offers an explicit definition, rhetoric is "the study of languages and sign systems in use," and it thus can cover a host of sins in Strolling Actresses. Later, in a gloss which helps to explain his own usage, Meltzoff adds, "our understanding [of Hogarth's picture] is neither precise nor conventional, that is, neither linguistic nor semiotic, but rhetorical." Theorists of rhetoric who have labored hard at precise codification of conventions might be dismayed at this disjunction, which seems to set aside their elaborate taxonomies and assign them the realm of theje ne sais quoi: everything that lies beyond convention and precise understanding. Indeed, since rhetoric has during the past two centuries often been sneered at as an excessively precise inventory of figures and conventions, this reversal may seem alarming-as if linguistics and semiotics had suddenly usurped the place of rhetoric and rhetoric had displaced the interpretive criticism which previously dealt with the use or combination of linguistic and rhetorical devices. In fact, this movement of substitution and displacement is wholly characteristic of rhetoric, which can be defined by a series of such paradoxes. Rhetoric is the art of using language effectively, yet it is also that which any speech or composition must avoid if it is to be truly effective. Such paradoxes may, of course, be treated simply as curious historical shifts. Thus, one might claim that rhetoric was at one time

On Trope and Persuasion

In organizing this conference the editors of boundary 2 have asked us to consider the situation of contemporary American criticism, in which, as they say, various methods and rhetorics have been competing to replace the New Criticism. As one of the opening speakers, my job is to utter some debatable propositions so that they can be debated: I'm going to make tendentious remarks about the relationship between some of these competing modes of discourse. I chose my title because I had intended to concentrate on two competing discourses, which can be called roughly the structuralist and deconstructionist, and to look at a point of intersection, a moment of competition: Derrida's reading of Saussure in De la grammatologie. Though I shall do this briefly in order to discuss the relationship between structuralism and deconstruction, I respond to my place on the program by casting my net a bit wider and addressing the larger topic which the organizers call "The Question of Formalism: From Aesthetic Distance to Difference." In the competition among modes of discourse to replace the New Criticism, what has happened to formalism? I think I can report that it is alive and well, doing very nicely.

http://www.jstor.org/stable/pdfplus/303140.pdf

Structuralism and Grammatology

"Paul de Man's War" and the Aesthetic Ideology

It seems appropriate to begin a celebration of Flaubert with the work for which he has been most celebrated.' Percy Lubbock declared in The Craft of Fiction that Madame Bovary "remains perpetually the novel of all novels which the criticism of fiction cannot overlook," and the reasons he cites would make it a particularly appropriate point of departure for a critical conference. "There is no mistaking or mis-reading it," he continues,

Jonathan Culler

Papers

Nuclear Piece: Memoires of Hamlet and the Time to Come@@@Memoires: For Paul de Man@@@Hamlet@@@"Nuclear Criticism."

On Trope and Persuasion

Structuralism and Grammatology

"Paul de Man's War" and the Aesthetic Ideology

The Uses of Madame Bovary