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Artykuły w czasopismach na temat "Productive melancholia"
1
Muliaee, Maryam. "Crossing a Productive Melancholia in Artistic Work Based on Xerography." Ekphrasis. Images, Cinema, Theory, Media 21, no. 1 (2019): 82–92. http://dx.doi.org/10.24193/ekphrasis.21.7.
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Liss, Barry. "Hot media, technological transformation and the plague of the dark emotions: Erich Fromm, Viktor Frankl and the recovery of meaning1." Explorations in Media Ecology 17, no. 4 (2018): 379–92. http://dx.doi.org/10.1386/eme.17.4.379_1.
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This article takes the position that our contemporary overheated media environment lends itself to comfortable passivity, resulting in mental breakdown in the guise of the dark emotions: anxiety, melancholia and boredom. This is especially the case with the inevitable synergy of the upcoming technological transformations from genetic modification, virtual reality simulacra and artificial intelligence/robotics. After discussing the data from the World Health Organization regarding the stark increase of people across the globe suffering from depression and anxiety, this article weds the concepts of McLuhan’s hot–cool distinction with Fromm’s delineation of the productive character orientation. Following Fromm, this article argues that joy ensues from reason, productive labour and love–sorrow from ignorance, alienated work and indifference. When we wilfully abrogate our responsibilities to self and other via non-participational mediated forms, we cede away our potential for growth and development. This leads to the emotional breakdowns of guilt, boredom, anxiety and melancholia. Viktor Frankl’s logotherapeutic perspective is discussed as a counterbalance to the social effects wrought by our overheated technological environment. Frankl’s stress on phenomenological meaning as the cornerstone of existence provides a lens to understanding the affects of an over-reliance on technological gadgetry.
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Yeager, Stephen. "Empire, Shame, and Medieval Text Editing: The Case of Beowulf Line 1382a." Journal of Medieval and Early Modern Studies 53, no. 2 (2023): 201–24. http://dx.doi.org/10.1215/10829636-10416571.
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This essay applies the concept of postimperial melancholia, taken from the work of Paul Gilroy, to describe the affective undercurrents of medieval text editing in the latter half of the twentieth century and the first decades of the twenty-first through an example from Beowulf. The discussion is focalized through the emendations to line 1382a, where an ambiguous series of minims leads to different editorial choices in Klaeber's first three editions of the poem, in his second supplement to the third edition, in the fourth edition produced by R. D. Fulk, Robert D. Bjork, and John D. Niles, and in Kevin Kiernan's Electronic Beowulf. The emendation proposed by Klaeber in his second supplement is imbricated in the shameful history of Old English studies and the project of constructing legendary origins for whiteness. Kiernan and the fourth edition editors each reject Klaeber's reading without addressing this history, focusing attention instead on technological and methodological interventions that produce other readings which are then represented alongside Klaeber's. The result is representative of how the closed and nonrecuperative temporality of melancholia is manifest in the principal development of postwar medieval text editing more generally, which is the abandonment of the notion that scholarly interventions constitute progress toward a better representation of a text, in favor of imagining them as expansions of a spatialized critical field around nodes of dissent. The essay concludes that the best way forward for the field is to recognize its melancholia and its causes, so that it might contribute to more productive futures.
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Dular, Sonja. "Gazing into Beauty, Gazing into Death." Maska 33, no. 189 (2018): 30–34. http://dx.doi.org/10.1386/maska.33.189-190.30_1.
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A Melancholic Croquis is based on the motifs of Thomas Mann’s Death in Venice and its eponymous film adaptation by Luchino Visconti. The director Matej Filipčič conceived the project as a unique synthesis of a theatre performance, a scientific experiment and a social event. The article focuses on this triple connection, the specifics of the project’s content, form and production. It first explains the thematic deviation from the original: the performance does not foreground the artist and his being torn between the Apollonian and the Dionysian, but centres on melancholy, which Filipčič recognises as melancholic and defines experientially as an equation of both principles. The original motifs are present but are of secondary significance since the question no longer concerns a philosophical deliberation on the ways of achieving beauty but rather the staging of an ambience, experience itself and the possibility of recording the spectator’s emotional responses. Why? Because a melancholic is a person par excellence clinging to time and enclosed by time, able to ‘fight’ against the fleeting and the fleetingness of time with only one weapon: a series of questions that force creative persons (artists, philosophers, scientists) towards creative acts, into which Filipčič constantly inserts memories, intertwining the personal and the collective, placing the particular in the universal that is valid here and now. The article also traces the fundamental building blocks of Filipčič’s staging process: the poetics of memory, the use of a croquis and a concern for communicativeness, which are read through A Melancholic Croquis.
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Wolf-Meyer, Matthew. "Our Master’s Voice, the Practice of Melancholy, and Minor Sciences." Cultural Anthropology 30, no. 4 (2015): 670–91. http://dx.doi.org/10.14506/ca30.4.10.
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How do scientists and experts in marginal scientific fields think about themselves, their knowledge production, and their practices in relation to dominant sciences? In this article, drawing on fieldwork with a group of Lacanian psychoanalysts, I argue that what motivates much of the training, practice, and thought of some contemporary psychoanalysts is their place as practicing a minor science in relation to dominant forms of psychiatry and neuroscience in the United States. They are exemplary marginalized experts who articulate themselves and their work against mainstream forms of neuroscientific and psychiatric expertise. I adopt the concept of minor sciences from Gilles Deleuze and Félix Guattari, who characterize them by their eminently political nature, their challenging of dominant sciences through intensive uses of language, and their disenfranchisement. Yet Deleuze and Guattari are relatively silent on the experiential qualities of practicing minor sciences. I turn to Sigmund Freud’s distinction of mourning and melancholia in relationship to lost objects, suggesting that one of the constituent components of minor sciences is a persistent state of melancholy related to the minor sciences’ struggling for relevance. Drawing on my fieldwork with a Lacanian community and their interest in who and what belongs to psychoanalytic thought, what threats endanger the status of psychoanalysis, and what is at stake in keeping psychoanalysis alive in the United States, I suggest that the power of melancholia proves vital to keeping minor sciences alive for marginalized experts.
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GRINAGE, JUSTIN. "Endless Mourning: Racial Melancholia, Black Grief, and the Transformative Possibilities for Racial Justice in Education." Harvard Educational Review 89, no. 2 (2019): 227–50. http://dx.doi.org/10.17763/1943-5045-89.2.227.
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In this article, Justin Grinage investigates how black youth experience and contest racial trauma using racial melancholia, a psychoanalytic conception of grief, as a framework for understanding the nonpathologized endurance of black resistance to racism. Examining data from a yearlong ethnographic study, Grinage engages the notion that melancholia is needed for mourning to take place, a crucial distinction that engenders agency in relation to the constant (re)production of racial oppression in the lives of five black twelfth-grade students at a multiracial suburban US high school. Grinage illustrates how racial melancholia structures racial trauma and analyzes its effects on black identity, dismissing pathologizing definitions of racial injury while centralizing the importance of asset-based, healing-centered approaches for enacting racial justice in education.
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Jeong, Boram. "The Production of Indebted Subjects: Capitalism and Melancholia." Deleuze Studies 10, no. 3 (2016): 336–51. http://dx.doi.org/10.3366/dls.2016.0230.
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In the essay ‘Postscript on the Societies of Control’, Deleuze discusses the differences between nineteenth-century capitalism and contemporary capitalism, characterising the former as the spaces of enclosure and the latter as the open circuits of the bank. In contemporary capitalism, ‘[m]an is no longer man enclosed, but man in debt’ ( Deleuze 1992 : 6). Deleuze claims that under financial capitalism, where the primary use of money is self-generation, economic relations are thought in terms of an asymmetrical power relationship between debtor and creditor, rather than an exchange between commodities. Taking up Deleuze's claim, this paper analyses how time functions in the formation of subjectivity under financial capitalism, by focusing on the temporal structure of debt. The indebted are expected to bind themselves to the past, not only in the moment they make a promise to pay back, but from that moment onwards; in this process, a subject finds himself passively subjected to the temporality determined by the condition of indebtedness, and yet he also actively reproduces and imposes the fact of indebtedness on himself by the feeling of guilt. Guilt, arising from the irreversibility of what has been done and resulting in the inability to proceed into the future, is central both to the indebted and the melancholic. Thus a melancholic subject emerges: a subject conditioned by the dominance of the past and the impossibility of the future.
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Parikh, Crystal. "Blue Hawaii: Asian Hawaiian Cultural Production and Racial Melancholia." Journal of Asian American Studies 5, no. 3 (2002): 199–216. http://dx.doi.org/10.1353/jaas.2003.0020.
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Rosburg, Regan Suzanne. "The Relentless Memorial." International Journal of Civic Engagement and Social Change 4, no. 1 (2017): 23–44. http://dx.doi.org/10.4018/ijcesc.2017010102.
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This manuscript, per the author, will explain “Environmental Melancholia” and “Collective Social Mania,” and describe how they are connected in a hedonic loop of capitalism and buyer's remorse. This manuscript will also explain the role of symbolism and symbolic acts in healing one's grief, and the connection it has to art. The materials used in the artwork, Relentless Memorial, reference the unyielding pollution and mass production of goods created by the petroleum industry, as well as creating a dichotomy between a clean, white, virgin plastic to an ever-increasingly polluted, contaminated world. The formal presentation of Relentless Memorial as an installation is intended to provide a place of contemplation and mourning. Furthermore, the presentation of the installation as a panorama is related to the phenomenon of panoramas of the nineteenth century, and the onset of environmental pollution during the industrial revolution of that time. It invites a layered investigation into how that industry has influenced the environmental melancholia felt by society today.
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Navaro-Yashin, Yael. "Affective spaces, melancholic objects: ruination and the production of anthropological knowledge." Journal of the Royal Anthropological Institute 15, no. 1 (2009): 1–18. http://dx.doi.org/10.1111/j.1467-9655.2008.01527.x.
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