scholarly journals Begæret efter stoflighed. Materialitet, begrænsninger og begær i “Madame Bovary”

2017 ◽  
Vol 32 (77) ◽  
Author(s):  
Signe Leth Gammelgaard
Keyword(s):  
New Materialism ◽  
The Novel ◽  
Madame Bovary ◽  
Karen Barad ◽  
Materialist Theory ◽  
Capitalist Ideology

Signe Leth Gammelgaard: “Desiring Matter: Materiality, Constraints and Desire in Madame Bovary”This article analyses similarities between Flaubert’s stylistics in Madame Bovary and the theories of new materialism, in particular the work of Karen Barad. Drawing upon earlier readings of the novel by Schor, Danius, Starobinski and Rancière this reading centers on the motif of boundaries and their dissolvement and it argues that the novel highlights a feeling of disappointment or frustration with a world that does not always move according to human will. The article goes on to examine how Emma’s money plot conjoins with the theory of active materiality, and to speculate on the relation between capitalist ideology and new materialist theory. Finally, two critiques of new materialism are discussed, stressing the importance of the notion of boundaries.

Werewolf Wollstonecraft

2020 ◽  
pp. 253-274
Author(s):  
Chris Washington
Keyword(s):  
Eighteenth Century ◽  
Social Contract ◽  
Power Relations ◽  
New Materialism ◽  
Feminist Critique ◽  
The Novel ◽  
Power Structures ◽  
Gender Identities ◽  
Dynamic Power ◽  
Karen Barad

The judicial bestiary at the heart of eighteenth-century politics has long been evident in Enlightenment social contract debates, as Michel Foucault’s and Giorgio Agamben’s theories of biopolitics show. In this essay, I argue that Wollstonecraft is nonetheless the first thinker of ‘true’ werewolf out-lawry in her final novel, Maria, Or the Wrongs of Woman and in her letters to Godwin. In the novel, Wollstonecraft leverages what we now call new materialism as a feminist critique of heteropatriarchal society. Wollstonecraft’s new materialist thinking also scrambles gender across even human and nonhuman distinctions. To counter microcosmic familial and macrocosmic state heteropatriarchy, Wollstonecraft theorizes what I am calling, following the example of wolves and werewolves, not a family but a ‘pack’. The pack manifests as new spacetimes through what Karen Barad terms “quantum entanglements” that produce love between subjects and subjects but that never strives to reproduce binaristic pairings that reproduce the sovereign family. A pack, as Wollstonecraft’s texts demonstrate, emerges from processes of co-creation that iterate new subjects and objects without dynamic power structures structured around stable gender identities or human and nonhuman power relations.

scholarly journals The Arts and New Materialism: A Call to Stewardship through Mercy, Grace, and Hope

Humanities ◽  
2020 ◽  
Vol 9 (3) ◽  
pp. 84
Author(s):  
Nicholas Leonard
Keyword(s):  
New Materialism ◽  
Agential Realism ◽  
The Arts ◽  
The World ◽  
Karen Barad ◽  
Depth Study ◽  
Materialist Theory

During highly polarized times, issues are quickly addressed in ways that emphasize divisions. To support the healing of our polarized culture through art, new materialist theory as presented by Karen Barad and Rosi Braidotti will be entangled with art and artmaking according to Dennis Atkinson and Makoto Fujimura to argue for art as an act of environmental and cultural stewardship, creating new possibilities and differences in the virtual that are merciful, graceful, and hopeful. To form this argument, first a summary of new materialism and ethics through Agential Realism and Affirmative Ethics is addressed. Next, a cartography including scientific and theological perspectives is presented for a diffractive reading regarding the concepts of mercy, grace, and hope to develop a new materialist understanding through a philosophy of immanence to counter the circular perpetuation of violence. These concepts are then individually addressed through the proposed new materialist framework to further break from material-discursive dualistic thought. This approach is then explored through various artworks to investigate the co-constructing material-discursive nature of art to create new relations and possibilities in the world. Finally, an in-depth study of the artworks Becoming Us by Megan Constance Altieri and Teeter-Totter Wall by Ronald Rael are addressed to detail how a new materialist approach to art that focuses on the concepts of mercy, grace, and hope can position art as an act of stewardship.

The Head, the Hand, and Matter: New Materialism and the Politics of Knowledge

2018 ◽  
Vol 35 (7-8) ◽  
pp. 49-72 ◽  
Author(s):  
Paul Rekret
Keyword(s):  
Social Relations ◽  
Social Constructivism ◽  
New Materialism ◽  
Political Agency ◽  
Human Beings ◽  
Counter Narrative ◽  
Karen Barad ◽  
Material Turn ◽  
Material Conditions ◽  
Do So

This article seeks to examine the political connotations of a recent ‘material turn’ in social and political theory and its implications for theorizations of political agency. ‘New materialist’ theories are premised upon transcending the limits which social constructivism places upon thought, viewed as a reification of the division of subject and object and so a hubristic anthropocentrism which places human beings at the centre of social existence. Yet new materialist theories have tended to locate the conditions of the separation of mind and world they seek to overcome upon the terrain of epistemic or ethical error. By taking the work of Quentin Meillassoux, Jane Bennett and Karen Barad as exemplary, this article contends that new materialist theories not only fall short of their own materialist pretensions insofar as they do not interrogate the material conditions of the separation of the mental and material, but that the failure to do so has profound repercussions for the success of their accounts of political agency. This essay seeks to offer a counter-narrative to new materialist theories by situating the hierarchy between thought and world as a structural feature of capitalist social relations.

Quantum Creativity: Afracting New Materialism in the Anthropocene

2021 ◽  
pp. 107780042110666
Author(s):  
jan jagodzinski
Keyword(s):  
Creative Destruction ◽  
New Materialism ◽  
Quantum Level ◽  
Deleuze And Guattari ◽  
Dominant Position ◽  
The Arts ◽  
Karen Barad

This essay engages the vicissitudes of new materialism at the quantum level, attempting to differentiate what I take to be fundamental differences in the theoretical positions of vitalist theories as developed by Karen Barad and Deleuze and Guattari in relation to the Anthropocene. I treat matter at the quantum level to differentiate conceptions of apparatus and assemblage. It is argued that one should not treat them under the same signifiers. There is the question of creativity that runs through the essay which also raises questions concerning an “affirmative” Deleuze, the dominant position when it comes to the arts, humanities, and pedagogy. Against these particular developments, anorganic life as in|different comes to fore where issues of creative destruction must be faced.

Madame Bovary and Marks

Tekstualia ◽  
2014 ◽  
Vol 1 (36) ◽  
pp. 9-28
Author(s):  
Emily Apter
Keyword(s):  
English Translation ◽  
Karl Marx ◽  
The Novel ◽  
Paul De Man ◽  
Madame Bovary ◽  
De Man ◽  
Insight Into ◽  
Ideological Work

In the article professor Emily Apter tells the story of an English translation of Flaubert’s Madame Bovary – of an infl uential English rendition prepared by the daughter of Karl Marx, Eleanor. Apter analyses some of the decisions taken by Eleanor Marx, compares them to solutions found by other translators, including Paul de Man and Lydia Davis, and observes how much the ideological work of Karl Marx might have infl uenced the con cept of „diligent translation” that Eleanor followed in her rendition of Flaubert’s masterpiece. At the same time the article offers insight into textual detail of the novel, bringing to light some of its scarcely noticed features.

Oh, go to sleep, honey. If you want some chills – you got it. On affect in ASMR

2020 ◽  
Vol 35 (2) ◽  
pp. 315-325
Author(s):  
Joanna Łapińska
Keyword(s):  
Cultural Practices ◽  
New Materialism ◽  
Cultural Phenomenon ◽  
Karen Barad

In the article, the author discusses a new cultural phenomenon known as ASMR in a posthuman perspective, especially from the perspective of new materialism (Karen Barad), studies of things (Bjørnar Olsen, Ewa Domańska) and affective studies (Jane Bennett, Sara Ahmed). The article analyzes selected ASMR videos published on the YouTube website in terms of the affectivity of the objects used in them, arguing that ASMR cultural practices encourage the production of human-non-human assemblages of subjects and objects built of “vibrating matter” (Jane Bennett).

scholarly journals THE TRANSLATION OF FIXED EXPRESSION FROM FRENCH TO INDONESIAN IN 'MADAME BOVARY' NOVEL

2021 ◽  
Vol 6 (1) ◽  
pp. 61-76
Author(s):  
Mubarok Dilma Fasa ◽  
Sajarwa Sajarwa
Keyword(s):  
Data Collection ◽  
Qualitative Method ◽  
The Novel ◽  
Madame Bovary ◽  
Translation Techniques ◽  
Fixed Expressions ◽  
Descriptive Qualitative

A fixed expression is a combination of words that has a stylistic value. The meaning of a fixed expression should be understood from the whole parts and cannot be identified from each of the constituent separately. This study aimed to identify the techniques used to translate French fixed expressions to Indonesian language based on the theory of translation techniques proposed by Molina and Albir (2004). It applied descriptive-qualitative method focusing on equivalence in translation. The data collection was carried out by finding the metaphorical suites of words in Gustave Flaubert’s Madame Bovary novel and their equivalents in its Indonesian version Nyonya Bovary. The results showed that, in total, there are three different techniques used by the translator in translating the fixed expressions in the novel. Out of 73 fixed expressions, 61 were translated by modulation, 8 by discursive creation and only 4 by transposition. This article is expected to give contribution to the studies of translation in general and translation of fixed expressions from French to Indonesian, in particular.

Trois scènes de bal dans le roman français (« La Princesse de Clèves », « Madame Bovary », « Le Ravissement de Lol V Stein »)

2020 ◽  
Vol 65 (2) ◽  
pp. 221-242
Author(s):  
Marius Popa
Keyword(s):  
French Literature ◽  
Gustave Flaubert ◽  
Marguerite Duras ◽  
Living Environment ◽  
The Novel ◽  
Love Stories ◽  
Royal Court ◽  
Madame Bovary ◽  
French Novel ◽  
Madame De Lafayette

"Three Ball Scenes in the French Novel (“La Princesse de Clèves”, “Madame Bovary”, “Le Ravissement de Lol V Stein”). This article aims to analyze – in a comparative manner – three ball scenes from novels belonging to leading authors of French literature (Madame de Lafayette, Gustave Flaubert and Marguerite Duras), highlighting a series of dramatic mechanisms used by novelists in the construction of such a diegetic plot. If La Princesse de Clèves describes a ball that takes place in the royal court, with all the typical scenes of the time (embodied in a real mixture of intrigue and gallantry specific to the living environment of the actors, which make the topos of the novel itself become a collective character), Madame Bovary describes, instead, a ball animated by the high society of the nineteenth century, with all the specifics of the realistic episteme (the ball becomes here an opportunity to evoke the painful contrast between different living environments, which the heroine cannot access and which causes her, consequently, to take refuge in an imaginary universe). Much closer to the spirit of contemporaneity, Le Ravissement de Lol V Stein, the famous “nouveau roman”, relies on an image of the harmful and destructive ball, paying particular attention to the psyche of the characters. These novels lean – starting from this narrative pretext of the ball – on some love stories built through specific strategies of the theatre, which is, in essence, the central object of our analysis. Keywords: ball scenes, French Novel, dramatic mechanisms, narrative pretext, love stories."

A Horse Is a Horse, Of Course, Of Course: Animality, Transitivity, and the Double Take

Somatechnics ◽  
2018 ◽  
Vol 8 (1) ◽  
pp. 27-47
Author(s):  
Jennifer M. Barker
Keyword(s):  
Animal Movement ◽  
Human Movement ◽  
Slow Motion ◽  
New Materialism ◽  
Running Time ◽  
Karen Barad ◽  
Feminist New Materialism ◽  
Work Done ◽  
Dividing Line

Lanthimos's The Lobster (2015) invites a way of looking that coincides with work done by scholars of feminist new materialism with an eye toward queering binary and static concepts of species, gender, and the relation between them. A close look at one fleeting, slow-motion image of horses racing on a track reveals a pattern of ‘diffraction,’ in the critically productive sense that Karen Barad uses the term, such that we see neither camera movement, human movement, nor animal movement proper, but movement that is ‘of’ all three bodies, but not ‘in’ any given one. The film perpetually defers the dichotomy between animal and human as it is classically conceived in order to reconfigure it.That diffractive pattern recurs throughout the film, in its use of slow motion, lateral camera movements, and the overlapping of multiple movements and rhythms. Throughout its running time, The Lobster suspends the process of becoming in motion, emphasizing the experiential aspect of this ‘-ing’ that bodies do. The film draws vision sideways, rippling and redoubling itself; in the process, it shifts attention from a human state or an animal state – states that, according to conventional logic, exist on one side or another of a dividing line, and which certain types of movement might transcend – to transitivity, or the movement of movement itself.

Aesthetic Distance in Madame Bovary

PMLA ◽  
1954 ◽  
Vol 69 (5) ◽  
pp. 1112-1126
Author(s):  
B. F. Bart
Keyword(s):  
Nineteenth Century ◽  
The Novel ◽  
New Techniques ◽  
Madame Bovary ◽  
Nineteenth Century France ◽  
Carry Over ◽  
Aesthetic Distance

AS novelists in nineteenth-century France grew more familiar with their medium through practice in handling it, it became ever more possible for them to conceive of incorporating into it many of the qualities hitherto sought only in poetry or in the theater: the grandeur of the epic, the penetration of comedy, the sublimity of tragedy. The novel, relatively new in comparison with other forms, required the development of new techniques and new understandings which force the critic regretfully to abandon many criteria made comfortable through long use; but some of the basic problems remain and carry over with them some at least of the older canons. An enquiry into the meaning of Madame Bovary may properly raise the familiar question of tragedy or pathos and, although the question is posed in terms foreign to the older forms, the criteria for them may be restated to meet the new issues. One such canon is the matter of “aesthetic distance,” which has recently been defined as “an implicit set of directions concerning the distance from the object at which the reader must stand if he is to see it for what it is.” Studied in this light, Madame Bovary shows constantly shifting distances which lead to a richness and variety prohibited in the shorter compass of most of the older forms but which also proportionately increase the difficulties for the novelist, who must bring unity and meaning into this complex.

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