The Resistance to Theory

particularly interested in the concept of doubled practices.2 These are practices that might be of use in negotiating the tensions between the political imperative of feminism to make visible women's experiences and poststructural critiques of representation (Juhasz 1999; Piontek 2000). In terms of the \"post,\" as Henri Lefebvre noted about architecture around 1910, \"a certain space was shattered\" but, nonetheless, \"did not disappear . . . without leaving any trace in our consciousness, knowledge

Postbook: Working the Ruins of Feminist Ethnography

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New Deal Cowboy: Gene Autry and Public Diplomacy

words such as glory, honor, courage, or hallow were obscene beside the concrete names of villages, the numbers of roads, the names or rivers, the numbers of regiments and dates. Dos Passos declared that “no excuse of pragmatic expediency justified the war”; in The Three Soldiers, Coningsby Dawson observes, army life fosters only “contented moral rottenness.” Charles Yale Harrison’s Generals Die in Bed (1930), whose central theme is “the brutalizing effect of war” on soldiers, is described by Pierre Berton as “the most cynical novel of the era.” The poignancy of such war novels is greatly diminished if they are understood to represent war as a necessary (as opposed to a sadly inevitable) evil. Barker and Remarque Rawlinson distinguishes All Quiet on the Western Front from the Regeneration trilogy, arguing that for Remarque, “the theatre of atrocity is played out only before those who are party to the killing; families know nothing of what has become of their sons.” As Rawlinson notes, Barker mostly presents the front’s atrocities as they are recounted in therapy, rather than as they occur at the front. Ladan Amir 191 Ernest Hemingway, A Farewell to Arms (New York: Simon and Schuster, 2012), 161. Billy Prior writes an entry in his journal that resonates with Hemingway’s: “Loos, she said. I remember standing by the bar and thinking that words didn’t mean anything any more. Patriotism honour courage vomit vomit vomit. Only the names meant anything. Mons, Loos, the Somme, Arras, Verdun, Ypres” (579). Bergonzi accuses Barker of “half-remembering or simply lifting [this] well known passage from Hemingway’s A Farewell to Arms”: Bergonzi, War Poets and Other Subjects, 12. I believe that Barker consciously evokes Hemingway’s phrase here in order to convey the parity between Prior’s disillusionment in the Regeneration trilogy, and Henry’s disillusionment in A Farewell to Arms. 192 Ian Colley, Dos Passos and the Fiction of Despair (London: Macmillan, 1978), 2. A. Hamilton Gibbs thought The Three Soldiers to be “magnificent ... a combination of Barbusse and Sassoon and Frankau, an extraordinary mixture of poetry and terrible prose pictures”: cited by Virginia Spencer Carr in Dos Passos: A Life (Evanston, Illinois: Northwestern University Press, 2004), 187. 193 Coningsby Dawson, “Insulting the Army,” New York Times Book Review 2 October 1921, 1, no. 16–17, cited in Dos Passos: The Critical Heritage, ed. Barry Maine (London and New York: Routledge, 1988), 35. 194 Dagmar Novak, Dubious Glory: The Two World Wars and the Canadian Novel (New York: Peter Lang, 2000), 60. Cited by Clausson, “Charles Yale Harrison’s Little-Known Minor Masterpiece: Generals Die in Bed, Modernism and the Canon of World War I Fiction,” War, Literature and the Arts, 23, no. 1 (2011): np. 195 Pierre Berton, Marching as to War: Canada’s Turbulent Years 1899–1953 (Toronto: Anchor Canada, 2002), 302; cited by Nils Clausson, “Charles Yale Harrison,” np. 196 Rawlinson. Pat Barker, 64. 197 I disagree with Rawlinson’s statement that “Post-Traumatic Stress Disorder represents a literal return of the repressed”: Rawlinson, Pat Barker, 65, my emphasis. The stress that arises from trauma

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Cruelties incomprehensible: the alienated gaze at war in Pat Barker's Regeneration trilogy

This article examines the representation of masculinity in Sex and the City through an analysis of the characters Big and Steve. Although the show is unique in that it presents female characters as the primary subjects of identification and presumes a female audience, it participates in the patriarchal project of measuring men, especially Big and Steve, against each other. At first, Big represents classic old-style phallic male character, the hero of both fairy tale and Hollywood romantic comedy. Steve, on the other hand, represents the new man, a flawed hero of modern relationship myths. However, throughout the course of the series, the illnesses of these two characters shift these representations. The series ultimately opens space for new representations of masculinity.

How Big is Big Enough

After the recent publication of Jane Marcus' essay, "Brittania Rules The Waves," interpretations of Virginia Woolf s novel cannot legitimately ignore its political content. As for myself, before I had the opportunity to read the essay, I had already written briefly on the implicit critique of imperialism in The Waves (McGee 116-120) in such a way as to suggest my agreement with Marcus that the novel is about "the submerged mind of empire" (the words of J. M. Coetzee, cited by Marcus 136). Still, Marcus goes beyond my understanding of an implicit and partial critique to argue that an explicit critique of imperialism constitutes the center and organizing principle of the novel. Marcus has articulated a new space for reading The WavesÂ—a space that should become the enabling ground for future readings of the novel. By articulating this space in the form of a political interpretation, she also makes visible the internal boundary or blank space that any interpretation hollows out of itself. This blank space allows me to pose the question of literary form that Marcus fails to address adequately with her emphasis on the transparency of social content and literary references. She does not claim, of course, that the meaning of the novel is obvious but that it becomes obvious once the text has been plugged into the specific dimensions of the historical context from which it derives. Marcus wants to reverse the critical history of The Waves which has tended to identify the novel as a static representation of upper-class culture and forms of identity. On the contrary, Marcus insists, "the project of cultural studies . . . now allows one to read The Waves as a narrative about culture making" (139). I agree with this state-

The Politics of Modernist Form; or, Who Rules The Waves?

List of Illustrations. Preface. 1. Why Shane Never Comes Back. Alan Ladd's Face. What Shane Wants. Why Shane Wears a Blue Collar. Why Shane's Gun Sounds Like an Atom Bomb. 2. The Political Origin of the Western. Owen Wister Went West. The West Went to Hollywood. Marx Goes West. 3. Crossing the Border. Jefferson's Double-Cross (Stagecoach and Destry Rides Again). The Virginian Crossed Out (The Westerner). 4. Revolutionary Hysteria. The Hysterical Fascist Killer (Duel in the Sun). Notorious Ladies (Johnny Guitar and The Quick and. the Dead). 5. Bad Fathers Make Good Sons. Shoot the Father (My Darling Clementine). Don't Shoot the Father (Red River). Forget the Father (The Searchers). 6. Men on the Verge of a Nervous Breakdown. The Gunfighter and the Proletariat. The Man Who Did Not Corrupt Hadleyville (High Noon). The Men Who Save John Wayne (Rio Bravo). The Man Who Shot John Wayne (The Man Who Shot Liberty. Valance). 7. Magnificent Corpses. Redemption through Destruction. The Winners Are the Losers (The Magnificent Seven). Only Death Will Do (The Wild Bunch). 8. Death's Landscape. The Uses of the Dead. Two Kinds of Men (The Dollars Trilogy). Get Out of the Way (Once Upon a Time in the West and. A Fistful of Dynamite). Transcendence on a Pale Horse (The Eastwood Westerns). 9. Western Armageddon. All Men Are Poets (McCabe and Mrs. Miller). The Multitude at Heaven's Gate (Heaven's Gate). Conclusion: Kill Bill, or Why Shane Always Comes Back. References. Index

From Shane to Kill Bill: Rethinking the Western

Paperspace: Style as Ideology in Joyce's Ulysses

Telling the Other: The Question of Value in Modern and Postcolonial Writing

I hadn't realized I was so ignorant, Celie The little I knew about my own self wouldn't have filled a thimble! And to think Miss Beasley always said I was the smartest child she ever taught! But one thing I do thank her for, for teaching me to learn for myself, by reading and studying and writing a clear hand And for keeping alive in me somehow the desire to know Nettie, The Color Purple The central tasks of pedagogy are, and have always been, to teach others how to teach themselves and to instill the desire to know The difficulty of teaching lies in the resistance of both student and teacher to the truth underlying the pedagogical act "Resistance" is a commonly-used term in both pedagogy and psychoanalysis It could be argued that, within either discipline, theory encounters practice as a kind of resistance; or that in relation to a psychoanalytic theory of teaching, pedagogy as practice assumes some autonomy in resisting the theory on which it is founded Unlike traditional pedagogy, however, psychoanalysis can claim a coherent relation between theory and practice as part of its self-definition: everything that psychoanalysis teaches derives from the dynamics of a particular drama, that unfolding between the analyst and the analysand Crucial to this drama is the education of the analyst, which itself hinges on an analysis that teaches theory through practice Freud believed that no amount of theoretical instruction could convince his students of the truth of psychoanalysis even where there was a strong wish to be convinced Consequently, he required that "everyone who wishes to treat others by analysis should first undergo an analysis himself Only in the course of this 'self-analysis' [by which Freud means 'training analysis']    , when he actually experiences in his own person, or rather in his own psyche, the processes asserted by analysis to take place, does he acquire the convictions by which he will later be guided as an analyst" (Question 39) The truth of psychoanalytic theory can be grasped only through the subjective experience of psychoanalysis But this truth has less to do with the verification Patrick McGee is an assistant professor of English at Louisiana State University Recently, he has published articles on William Faulkner, James Joyce, and contemporary criticism He has a book forthcoming from the University of Nebraska Press in 1988 entitled Paperspace: Style as Ideology in Joyce's " Ulysses"

https://www.jstor.org/stable/pdfplus/377810.pdf

Patrick McGee

Papers

The Politics of Modernist Form; or, Who Rules The Waves?

From Shane to Kill Bill: Rethinking the Western

Paperspace: Style as Ideology in Joyce's Ulysses

Telling the Other: The Question of Value in Modern and Postcolonial Writing

Truth and Resistance: Teaching as a Form of Analysis.