English

In my analysis, I venture an object-oriented analysis of the documentary in terms of Stacy Alaimo’s transcorporeality, Bruno Latour’s interobjectivity, and Rob Nixon’s “slow violence,” a term critiquing how corporate decision-making can bring about environmental disruption to those living downstream. Further, the concept of risk is rarefied into the banality of everyday life/lie in that this type of environmental injustice plagues all of the people living under the sky blocked from light due to pollutants which render those populations into the category of “disposable.”

This paper suggests an interpretation of Snyder's 'nature' poetry or poetics of 'wildness' that foregrounds the interplay of virtual image and real essence, since the truly 'wild' or genuinely 'natural' cannot, after all, be represented: it can only be caught in the brushstroke of the real-virtual ...

Richard Powers's The Echo Maker is a neuro-narrative of recovery in which Mark Schluter's brain damage caused by a car accident results in Capgras syndrome, meaning "a delusional misidentification disorder." Though Mark physically recovers from his injuries, his sense of reality is reversed: whatever is genuine becomes fake. In order to help restore her brother's health, Karin writes to neurologist Dr. Gerald Weber requesting that he travel from New York to visit her bother. In this essay, I attempt to reread the two major narrative threads —the narrative of the migration of sandhill cranes and Mark's cerebral wound—in terms of Catherine Malabou's notion of plastic materialism, especially the plasticity of the newly wounded Mark who is caught between a split and search for constancy. While demonstrating Mark's Capgras syndrome as a cerebral event, this paper also articulates the formation and deformation of self brought about by the possibility of a...