Modern Language Association

Abby Scribner, “‘Grim, metal darlings’: The Automated Women of Charlotte Brontë’s Shirley” (pp. 257–285) In this essay, I argue that Charlotte Brontë’s industrial novel Shirley details the consequences of the Marxist critique of industrial subjectivity in the feminized domestic and sexual realms. It does so by showing how structures of repetition—familiar from many accounts of mechanized male subjectivity in the mid-Victorian period—shape the subjective forms of three of its female characters: Caroline Helstone, the domestic woman; Miss Mann, the old maid; and Mrs. Pryor, the mother. By focusing on female automatons in a novel putatively about the Luddite riots, Shirley introduces a tension into its own conservative ideal of the domestic sphere as the compensatory counterpart to the world of work. Despite its overt adherence to paternalism as the solution to social unrest, the novel gestures at an understanding of the home as a space that partakes of one of the major structures of capitalist modernity—repetition as dehumanizing, dysfunctional, and exploitative.

This article examines the temporal and phenomenological philosophies of Gilles Deleuze, Félix Guattari, and Paolo Virno, specifically in relation to the transmedia franchises of the Japanese game studio, Type-Moon. Against linear, national, and majoritarian grand narratives of the historical, theotakuartists, writers, and developers responsible for the Fate series postulate whether it is possible to harness the intense and affective forces described by Jay Lampert as “the Joan of Arc effect” in the blink of an eye or in the palm of your hand. Through a philosophical and formal analysis of three spinoff series from the Fate franchise, this article investigates how Type-Moon’s deployment of the “anime machine” encourages its viewers and users to see and feel the abundance of flowing “nomadic memories” or counter-historical visions from the perspective of minor populations. Through this highly embodied and tactile experience of transhistorical (un)becomings, Type-Moon’s series offer a deterritorialized, post-national world-image of the otaku database which mediates between the overloading affects of becoming-woman and the digitally encoded logic of transversal through the frames, windows, interfaces, devices, platforms, and bodies that constitute Type-Moon’s vibrant anime ecology.

Studie se nejprve zabv poten fz pijet dramatickho dla Thomase Bernharda eskm divadlem a kritikou a akcentac existencilnch tmat v inscenacch Divadla Na zbradl. Nsledn se vnuje souasn interpretaci Bernhardovy dramatiky

Abstract Since 1875 the heroine of the most performed opera in the world, Carmen has become a universal cultural icon. She has appeared in a multitude of ballets, on stage as well as ice rinks, and in some eighty international films. The success of Bizet’s opera owns a lot to the libretto’s singular accounting of the 1845 short story on which it is based. In her close textual analyses of Ludovic Halévy’s and Henri Meilhac’s libretto and Prosper Mérimée’s novella, the author strives to account for the multiple aspects of Carmen’s attraction that support Georges Bizet’s acclaimed musical score.

The mechanisms used for scholarly publishing have remained largely unchanged over time, even as we’ve moved from a print-based world to a digital world. The scholarly communication ecosystem, however, is now undergoing a period of rapid transformation, including the introduction of new actors, new services, and increased pressure to improve the means of scholarly communication in order to meet the growing expectations of an information-rich world. Where to begin? The first question is to ask how scholarly publishing can provide the greatest benefit to global society in a sustainable way. Our two-day conversation about this question led us to the conclusion that the “black box,” monolithic model of scholarly publishing no longer serves most researchers. The most sustainable approach that best responds to the needs of authors and researchers today, and that may also pose the least amount of risk in completely disrupting the system, is disaggregated services—unbundling the products and services that publishers currently provide and letting market forces drive the development of, and demand for, a new and improved à la carte world of knowledge artifacts and knowledge management tools.OSI2016 Workshop QuestionWhat do we mean by publishing in today’s world? What should be the goals of scholarly publishing? What are the ideals to which scholarly publishing should aspire? What roles might scholarly publishers have in the future? What scenarios exist where publishers continue to play a vital role but information moves more freely? What impact might these reforms have on the health of publishers? Scholarly societies? Science research? Why?

Cet article s’intéresse à l’influence qu’a exercé le cinéma naissant sur les autres arts (et notamment la littérature), à l’époque moderniste. Partant d’une évocation de la présence du cinéma dans la littérature de la fin du xixe siècle et du début du xxe siècle, il s’intéresse à l’autonomisation de ce nouveau médium et, au-delà, à son influence sur la littérature, tout particulièrement sur les œuvres de Woolf, de Joyce et de Beckett. Les pages qui suivent se concentrent également sur les relations qu’ont entretenues le cinéma naissant et le théâtre, et sur divers champs critiques qui ont été récemment consacrés au sujet, comme l’étude des « institutions de la modernité », et celle du public (notamment féminin), etc.

Current Psychiatry is in crisis. Decades of neuroscientific research have not yet delivered adequate explanations or treatments. One reason for this failure may be the wrongness of its central assumption, namely that mental symptoms and disorders are natural kinds. The Cambridge School has proposed that a new Epistemology must be constructed for Psychiatry, and that this should start with the development of a new model of mental symptom-formation. ‘Mental symptoms’ should be considered as hermeneutic co-constructions occurring in a intersubjective space created by the dialogue between sufferer and healer. Subjective experiences (caused either by neurobiological or psychosocial upheaval) penetrate the awareness of sufferers causing perplexity and/or distress. To understand, handle and communicate these experiences, sufferers proceed to configure them by means of templates borrowed from their own culture. Importantly, however, the same neurobiological information can be configured into different symptoms; and different neurobiological information into the same symptom. Therefore, ‘mental symptoms’ are dissimilar hybrid combinations of neurobiological and cultural information. To be ethical, therapeutic interventions must take into account such dissimilarities. Blind manipulation of the brain in all cases should be considered as counterproductive.