Slot: 28B-5 Dec.
28, 10:15 a.m. – 12:15 p.m.
Panel: “East” European Literature and Culture
Chair: Craig Cravens, University of Texas at
Austin
Title: Reading Ocular Reading Self-reflexively,
or a Postcolonial Examination of Central and Eastern European “Minor”
Literature
Author: Todd Miller, University of Colorado
In the span of the 20th
century alone, a procession of now-extinct states and empires—Austro-Hungarian,
Yugoslavian, Czechoslovakian, Ottoman—has grazed upon the land and culture of
Central and Eastern Europe. These
state-ghosts inscribe colonies of memory that incessantly (re)atomize peoples
and (re)introduce new states—Croatia, Slovenia, Albania, Slovakia. Though critics often discuss the almost
serialized ethnic and religious clashes, waves of emigrations, and crises of
personal identity through the rhetoric of nationalism, they tend to gloss over
the potential utility of reading through the lens of postcolonialism (whether
militarily, economically or culturally).
However, the tradition of 20th century literature and film
that includes Gombrowicz, Kristof, Pavić, Kiš, Kundera, Ugrešić, and Kusturica,
among others, incessantly engages with the relation of national, cultural and
linguistic domination, economic subjection, and to that of personal identity
formation, for which the tools of postcolonialism are well fitted.
Using
the works of two authors that bookend World War I and the Yugoslav Wars, the
late modernist novel Ferdydurke (Polish, 1937) and two recent postmodern
pieces, In the Jaws of Life (Serbo-Croatian, 1993) and The Culture of
Lies
(Serbo-Croatian 1998), I intend to examine the function of narrative in the
creation of national and other identities by positioning Deleuze and Guattari’s
theory of minor literature and linguistic territorialization as a backdrop
against which to work. Ferdydurke, though not explicitly
about either nationalism or postcolonialism, extends Deleuze and Guattari’s
scheme of reterritorialization into a model of identity-creation in which the
subject seeks to interpret the logic system of the gaze that writes their
identity. Six decades later, this
subversion of reading remains apparent in Ugrešić’s fictional and non-fictional
work. She begins her fictional volume,
In the Jaws of Life, with a story that deconstructs Deleuze and Guattari's
theory of minor literature, revealing the hegemonic complicity of their
analysis through the constructedness of its narrative. Throughout both of her pieces, Ugrešić
demonstrates how narratives trap themselves within an initial form, which in
turn exploits its participants in their belief of the narrative as truth. Together, Ferdydurke’s anticipatory ocular
reading and Ugrešić’s self-reflexive deconstructions of narrative function as
new models in a geographic space that has been repeatedly de- and
reterritorialized, colonial and postcolonial. They offer a useful alternative to Deleuze and Guattari’s
enlightening, yet ultimately paralytic and exploitive analyses of so-called
minor literature.
References
Benjamin,
Walter. “Critique of
Violence.” Reflections: Essays,
Aphorisms, Autobiographical Writings.
Trans. Edmund Jephcott. New
York, Harcourt Brace Jovanovich, 1978.
277-300.
Bhabha,
Homi. Location of Culture. London: Routledge Classics, 2004.
Deleuze,
Gilles, and Félix Guattari. Kafka:
Towards a Minor Literature. Trans. Dana
Polan. Theory and History of
Literature, Volume 30.
Minneapolis, MN: University of Minnesota Press, 1986.
Derrida,
Jacques. “Psyche: Inventions of
the Other.” Reading de Man
Reading. Vol. 59 (Theory and History of
Literature). Ed. Lindsay Waters
and Wlad Godzich. Minneapolis, MN:
University of Minnesota Press, 1989.
25-65.
Foucault,
Michel. The Archaeology of
Knowledge and the Discourse on Language.
Trans. A. M. Sheridan Smith.
New York: Barnes & Noble Books, 1993.
---"Preface
on Transgression." Aesthetics,
Method, and Epistemology. Ed. James D.
Faubion. Trans. Robert
Hurley. New York: New Press,
1998. 69-87.
Gombrowicz,
Witold. Ferdydurke. Trans. Danuta Borchardt. New Haven, CT: Yale University Press,
2000.
Kundera,
Milan. “The Tragedy of Central
Europe.” The New York Review. 31.1 (1984): 34-37.
Spivak, Gayatri
Chakravorty. A Critique of
Postcolonial Reason: Toward a History of the Vanishing Present. Cambridge, MA: Harvard University
Press, 1999.
The Cuckoo. Dir. Aleksandr Rogozhkin. Perf. Anni-Kristiina Juuso, Ville
Haapasalo, Viktor Bychkov.
DVD. Columbia / Tristar,
2003.
Ugrešić,
Dobrovka. In the Jaws of Life
and Other Stories. Trans. Michael Hendry Heim and Celia
Hawkesworth. Evanston, IL:
Northwestern University Press, 1993.
---The
Culture of Lies: Antipolitical Essays.
Trans. Celia Hawkesworth.
University Park, PA: Pennsylvania State University Press, 1998.
Underground.
Dir. Emir Kusturica. Perf.
Miki Manojlovic, Lazar Ristovski, Mirjana Jokovic, Slavko Stimac. DVD. New Yorker Video, 2003.
Title: Metaphors, Models, and Self-expression in
Personal Literature
Author: Irena Avsenik Nabergoj, Scientific Research Center, Slovene Academy of Sciences and
Arts
The paper deals with the topic within the context of
the works of the greatest Slovenian writer, Ivan Cankar (1876-1918). Often
called a psychologist, Cankar claimed he was a realist in the higher sense, as,
for instance, Maupassant or Dostoevsky. The use of metaphors and the variety of
literary genres and themes in his numerous short stories, novels, dramas and
poetry reflect the profound influence of the classical tradition of European
and American literatures on his writing. Though Cankar was a keen observer of
social life, he is nevertheless unique in his manner of defending personal
identity, in expressing an intensively personal way of feeling and in
delineating passion. Ivan Cankar also ranks among the few classics of world
literature to have focused all of his writings on universal, biblical themes,
such as sin, guilt, punishment, forgiveness, and reconciliation, and to have
described the workings of the human spirit in the space between the external
law of society and the supreme divine law inscribed in the human inner core – a
law which reveals itself through the voice of conscience. These facts challenge
literary critics of all directions: Was he a pessimist, tortured by an
excessive sense of guilt, or a true prophetic voice among victims of extreme
situations? A holistic interpretation yields the conclusion that most of
Cankar’s works are confessions that purport to be true to his personal life as
they really happened in relation to his mother, to women, to society, and to God. Cankar’s inclination to
self-disclosure, alongside the objective disclosure of imperceptible reality,
implies that expressive language and musical style are vital to him.
Nabergoj, Irena Avsenik.
Ljubezen in krivda Ivana Cankarja / Ivan Cankar’s Love and Guilt.
Ljubljana: Mladinska knjiga 2005.
Title: Effacing Ideology: Politics, Sexuality,
and Obscenity in Witkiewicz’s The Shoemakers
Author: Elek Lehoczky, University of Michigan,
Ann Arbor
Stanislaw Ignacy Witkiewicz’s The
Shoemakers (Szewcy), completed in 1934, is the Polish
playwright’s last and arguably most topical work. This paper will investigate how the romantic subplot
supports both the dramatic structure and thematic content of the play, with
sexuality both propelling the action and serving as satirical allegory for
class consciousness. The theme of
the impotence of class conflict and the degradation of the utopian ideal
emerges from politico-sexual intrigues between the aloof, yet lascivious
Duchess and her bourgeois and proletarian suitors. However, it is through the amplification and distortion of
sexuality – obscenity – that Witkacy emboldens his critique of ideology,
mounting a rhetorical and linguistic attack on the very discourse in which
monolithic ideological systems – and the play itself – function.
My discussion
follows Daniel Gerould in identifying politics, sexuality, and art as the three
vectors of the creative force in Witkiewicz. This paper concurs that in Witkiewicz, the frustration of
the creative impulse in social and sexual milieux limits its efficacy to the
artistic sphere. Thus, the
Shoemaker Revolution at the end of Act II, an orgiastic frenzy of manual labor,
sublimates both Scurvy’s sexual lust and Sajetan’s socialist will to
power. I will attempt to extend
this analysis, however, by focusing on the play’s meta-dramatic and rhetorical
strategies for confronting ideology.
Faced by the inevitability of dialectical materialist contextualization,
Witkiewicz concedes that the work of literary art is informed by ideological
change. He confronts us with
violence, perverse imagery, and vulgar neologisms as an anti-artistic gambit to
disrupt that discourse and thus preserve the purity of creativity. While Witkacy constructs theme via the
elaboration of parallel plot and subplot, he employs obscenity to frustrate and
deconstruct that theme at every point in the play. These rhetorical and linguistic strategies resist the exercise
of critical exegesis and defend the work from entrenched ideological discourse.
Title: Karol Irzykowski’s The Tenth Muse: Aesthetic Considerations of Cinema as a
Work of Film and Literary Theory
Author: Sheila Skaff, University of Texas at El
Paso
Novelist, literary critic and essayist
Karol Irzykowski (1873-1944) wrote The Tenth Muse: Aesthetic Considerations
of Cinema as a piece of
film theory commissioned by the Polish government between 1922 and 1924 in an
attempt to help domestic filmmakers understand film aesthetics. Elusive,
difficult to interpret and even more difficult to translate, the book-length
essay (available only in Polish) has sparked the curiosity of film theory
scholars throughout the world. In The Tenth Muse, Irzykowski encourages the separation of
theater and prose from cinema, which, he claims, is an entirely visual medium.
For this reason, little attention has been paid to its relevance to literary
scholarship. This paper seeks to examine the book’s significance to literary
theory. It claims that while The Tenth Muse is ostensibly about cinema, it is also a
defense and explanation of its author’s identification with an intellectual
tradition that considered an organic desire to overcome linguistic barriers an
essential element of Polish national culture.
In the multitude
of languages spoken in the partitioned lands, words were understood by some,
including Irzykowski, amorphous, insubstantial and detrimental to
communication. He writes in The Tenth Muse that cinema was undergoing, “the same sort of basic cultural
transformation of the soul that happened in the invention of writing or
script. However, those changes
took place slowly while this one is occurring abruptly and before our own
eyes.” (Irzykowski, 53) This paper examines Irzykowski’s struggle to cut short
this transformation, which is one of the major issues in the region’s cinema
and a key to understanding Polish literary theory in the interwar period.