This essay celebrates the publication of Duress, explores its concepts and themes, focuses on the... more This essay celebrates the publication of Duress, explores its concepts and themes, focuses on the way Ann Stoler rejects the notion of historical forgetting and develops a heuristic of "colonial aphasia" in an ethnographic chapter on the emergence of France's Far Right near Marseille in the 1990s. The essay also tracks how postcolonial scholars are using the notion of aphasia, drawing on Stoler's colonial usages in contexts like the Netherlands and Britain as well as using the notion to periodize. Those who came to aphasia before and without Stoler are also present here, and their contributions suggest a range of ways to think through radical, countercultural, and philosophical thought. That Gilles Deleuze and Paolo Virno use aphasia in contrary ways suggests that once aphasia departs from clinical settings, its poetics are rather up for grabs even if contained within activist gestures; both rethink matters of politics, dissent, and language. The example of Kurt Goldstein is also imported to show that clinical aphasia may go with the "detours" of patients, those stricken by war, catastrophe, and these peculiar speech disorders. That "detour" is also a Deleuzian word opens wide a "minor" register to history, speech, and forms of oppression. The semantic spectrum for aphasia in histories of politics and language is wide, from Stoler's colonial version that applies most to the privileged, to Deleuze's poetic transpositions that propose aphasia as an accomplishment, a rebellious refusal of communication. Aphasia has much promise as a historical category in and outside of colonial forms of duress.
... Through their role as medical translators, these indi-Page 8. 618 Eric A. Stein and Marcia C.... more ... Through their role as medical translators, these indi-Page 8. 618 Eric A. Stein and Marcia C. Inhorn viduals created significant demand for obstetric services at the British Yakusu clinic and at Belgian hospitals in the Congo by the 1950s. ...
This essay is an engagement with forms, objects, and the nature of sly poetics in historical prac... more This essay is an engagement with forms, objects, and the nature of sly poetics in historical practice. It wonders about how historians have been practicing and theorizing craft at a time when postcolonial politics are urging for stronger attention to the vernacular, the archival, the affective, and the aesthetic. Offering a generous detour through a little-known version of Georg Simmel, then driving idealist ideas about history and creativity, this essay draws attention to some parallel practices emerging in Global South terrains. It uses three late and refractory Simmel essays on history and form as a prism through which to consider generative concepts, fragmentary and aesthetic methods, and historical sensibilities. While history as form is an enduring, vital theme, aesthetic theorizing is inciting new experiments with archival surfaces, memory work, aesthetic learning, and historical assemblages. Formal attentiveness sharpens critique in addressing historical, contemporary , and archival problems. Simmel may expand our sensory range, our openness to subjectivity and égo-histoire, tonality and mood, unknotting the interpretive impasse of much fashionable work in today's humanities: with its too tight pairing of the affective and the material.
Scroll through as you like. The Keller et. al is superb, and I respond to a year's worth of book ... more Scroll through as you like. The Keller et. al is superb, and I respond to a year's worth of book launches and the like at the end. It is a comment about impatient non-readers in our 21st century times among other things. Thanks to all!!
This essay celebrates the publication of Duress, explores its concepts and themes, focuses on the... more This essay celebrates the publication of Duress, explores its concepts and themes, focuses on the way Ann Stoler rejects the notion of historical forgetting and develops a heuristic of "colonial aphasia" in an ethnographic chapter on the emergence of France's Far Right near Marseille in the 1990s. The essay also tracks how postcolonial scholars are using the notion of aphasia, drawing on Stoler's colonial usages in contexts like the Netherlands and Britain as well as using the notion to periodize. Those who came to aphasia before and without Stoler are also present here, and their contributions suggest a range of ways to think through radical, countercultural, and philosophical thought. That Gilles Deleuze and Paolo Virno use aphasia in contrary ways suggests that once aphasia departs from clinical settings, its poetics are rather up for grabs even if contained within activist gestures; both rethink matters of politics, dissent, and language. The example of Kurt Goldstein is also imported to show that clinical aphasia may go with the "detours" of patients, those stricken by war, catastrophe, and these peculiar speech disorders. That "detour" is also a Deleuzian word opens wide a "minor" register to history, speech, and forms of oppression. The semantic spectrum for aphasia in histories of politics and language is wide, from Stoler's colonial version that applies most to the privileged, to Deleuze's poetic transpositions that propose aphasia as an accomplishment, a rebellious refusal of communication. Aphasia has much promise as a historical category in and outside of colonial forms of duress.
... Through their role as medical translators, these indi-Page 8. 618 Eric A. Stein and Marcia C.... more ... Through their role as medical translators, these indi-Page 8. 618 Eric A. Stein and Marcia C. Inhorn viduals created significant demand for obstetric services at the British Yakusu clinic and at Belgian hospitals in the Congo by the 1950s. ...
This essay is an engagement with forms, objects, and the nature of sly poetics in historical prac... more This essay is an engagement with forms, objects, and the nature of sly poetics in historical practice. It wonders about how historians have been practicing and theorizing craft at a time when postcolonial politics are urging for stronger attention to the vernacular, the archival, the affective, and the aesthetic. Offering a generous detour through a little-known version of Georg Simmel, then driving idealist ideas about history and creativity, this essay draws attention to some parallel practices emerging in Global South terrains. It uses three late and refractory Simmel essays on history and form as a prism through which to consider generative concepts, fragmentary and aesthetic methods, and historical sensibilities. While history as form is an enduring, vital theme, aesthetic theorizing is inciting new experiments with archival surfaces, memory work, aesthetic learning, and historical assemblages. Formal attentiveness sharpens critique in addressing historical, contemporary , and archival problems. Simmel may expand our sensory range, our openness to subjectivity and égo-histoire, tonality and mood, unknotting the interpretive impasse of much fashionable work in today's humanities: with its too tight pairing of the affective and the material.
Scroll through as you like. The Keller et. al is superb, and I respond to a year's worth of book ... more Scroll through as you like. The Keller et. al is superb, and I respond to a year's worth of book launches and the like at the end. It is a comment about impatient non-readers in our 21st century times among other things. Thanks to all!!
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