Peggy schaller saisir le désordre : Expressions littéraires de la catastrophe; modalités et enjeux de sa verbalisation
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- Kim S. Theriault
- Paul Williams
- Amanda Irwin Wilkins
CONTRIBUTORS Amina Tahri Escalera received her M.A. in French Literature from Université de Nantes (France) in 2003, and is currently pursuing her Ph.D. there. Her research to date has focused on the work of late ninetieth and twentieth century French fiction. Her dissertation investigates Ed. Rostand’s oeuvre from the perspective of its literary and rhetorical devices in the presentation of Rostand’s views on tradition and modernity. Her critical edition of an original play by Rostand, “Faust”, will be published in 2008. Tahri Escalera is instructor of French at Minot State University in North Dakota. Bree Hoskin recently completed her Doctor of Philosophy at the University of Western Australia. She has published poetry through the University of Western Australia Press and has an upcoming publication in the Literature/Film Quarterly. She currently resides in London. Bruce Janz is Associate Professor of Humanities in the Department of Philosophy at the University of Central Florida, and director for the Center for Humanities and Digital Research. His research is rooted in contemporary European philosophy (phenomenology and hermeneutics), which finds its way into diverse fields such as African philosophy, research on place and space, contemporary cultural theory, theories of interdisciplinarity, and the history of mysticism. In all these cases, he is concerned about how meaning is experienced and expressed outside of mainstream disciplines and at the interstices of communities of knowledge. He has published in Reconstructions, City and Community, Philosophy Today, Philosophia Africana, Janus Head, Studies in Religion, and other places. His Ph.D. is from the University of Waterloo, Ontario, Canada. Jacqui May is a doctoral candidate in the Comparative Studies Ph.D. program in the Dorothy F. Schmidt College of Arts and Letters at Florida Atlantic University, Boca Raton. A true interdisciplinary scholar her academic interests include media studies, visual culture, ethnic studies, history, and archaeology. Her mixed-media paintings, collages, and photographs have appeared in exhibitions in South Florida, New Zealand, France, and New York City. Two of her works are in the permanent collection of The International Museum of Collage, Assemblage and Construction, Mexico City. Kim S. Theriault completed her doctorate at the University of Virginia and is currently Assistant Professor of Art History, Theory, and Criticism at Dominican University in River Forest, IL. Her book Modern Making and the Myth of the Artist: Displacement, Trauma, and the Crisis of Arshile Gorky offers new interpretive insights into the artist’s work and should be available in 2008 from Ashgate Publishing. She also writes on the subjects of myth, memory, and trauma in relation to the Vietnam Veterans Memorial in Washington, DC. Paul Williams is Lecturer in American Studies at the University of Plymouth in the United Kingdom. He completed his Ph.D. in 2005 at the University of Exeter, which explored the influence of the nuclear threat on cultural texts from Britain, France, and the United States. Running throughout his published and forthcoming work is a concern with how the idea of race and the assumptions of colonialism resurface in the representation of modern war. He has followed these ideas in the Vietnam War film genre, in the post-apocalyptic world of Mad Max Beyond Thunderdome, in Langston Hughes’ depiction of the racist politics of nuclear defense, and in the relationship between hip-hop culture and the War on Terror. Amanda Irwin Wilkins received her Ph.D in Comparative Literature from Princeton University in 2005. Her dissertation was entitled “Ghosts Between Wars: History and the Imagination in Proust, Woolf, and Green.” Now an Assistant Director at the Princeton Writing Program, she teaches freshman composition and manages the Writing Center. 1 Set in Ancient Athens, A Midsummer Night’s Dream begins when Theseus, Duke of Athens, who is about to be married to Hippolyta, is accosted by the young lovers, Lysander and Hermia, and her father Egeus, who has ordered her to marry Demetrius. The lovers flee into the woods, chased by Demetrius, who is himself pursued by the adoring Helena. In the woods, the fairy king Oberon has quarreled with his queen, Titania, and orders his mischievous sprite, Puck, to gather a potion that will make Titania fall in love with the next creature she sees. Puck mistakenly applies the potion to the sleeping Lysander, who, upon waking, falls in love with Helena. After a night of chaos, Puck corrects his mistake with further use of the potion and the Athenian lovers are correctly paired off: Hermia with Lysander, Helena with Demetrius. They awake and are that day married alongside Theseus and Hippolyta. The conclusion of the play sees the newly-weds retire to bed. 2 John Lewis Gaddis, for example, argues that “We act in the present with a view to shaping the future only on the basis of what we know from the past. … An incomplete map is better than no map at all” (Surprise 5). 3 “states like these [Iran, Iraq, and North Korea] and their terrorist allies constitute an axis of evil” (quoted in New York Times, 30 January 2002). 4 Rice said: “Despite Nazi Germany’s repeated violations of the Versailles treaty and provocations throughout the mid-1930’s the Western democracies did not take action until 1939. The U.S. government did not act against the growing threat from Imperial Japan until it became all to evident at Pearl Harbor” (“Excerpts from Rice’s Testimony Before Commission Investigating Sept. 11,” A12.) 1.[E]xtreme events...are marked by “an excessiveness which allows us better to perceive the facts than in those places where, although no less essential, they still remain small-scale and involuted” (Klinenberg: 23). 2.For a full list of stories from the Ft. Myers News-Press on the hurricane, go to http://www.news-press.com/news/weather/hurricane/index.html 3.For all the Hurricane Charley coverage from the Orlando Sentinel, see http://www.orlandosentinel.com/news/weather/orl-charley-gallery,0,5070731.storygallery 4.And, in contrast to the tension between state and federal bodies during Hurricane Andrew in 1992, local officials were quick to downplay divisions in favor of creating a single official response: "I think the response we received from state and federal officials has been very timely, very accurate and reliable," [County Manager Mike Herr] said (Mahlburg). 5.http://www.news-press.com/news/weather/hurricane/index.html 6.One writer did make the connection, jokingly, between the Winter Park vote and the perceived slowness in bringing back their power (Thomas). 7.One story did suggest that there was help between strangers, though, amidst reports of jealousy between those who had utilities and those who did not (Kunerth et. al.). 8.http://www.orlandosentinel.com/news/local/state/orl-charley-gallery-day11,0,5835426.storygallery 9.I am fully aware that this contrast is a problematic one for many including those followers of Adam Smith and other who see economic activity as the quintessential human activity (to be human is to trade). I stand by the contrast, however, since I argue that framing the disaster in terms of property stands against other interpretive frames, and tends to undermine place-making in anything but the most limited sense. The point is not that property should be ignored, but that it should not be the framing principle. 10 .For full Orlando Sentinel Hurricane Frances coverage, see http://www.orlandosentinel.com/news/weather/orl-frances-gallery,1,2699972.storygallery? 11.It is worth noting that the newspapers’ websites were an important source of information. “At OrlandoSentinel.com, traffic doubled Thursday and continued above normal throughout the weekend, said Anthony Moor, editor of the Sentinel's Web site” (Mendelsohn). 12 For full Orlando Sentinel Hurricane Ivan coverage, see http://www.orlandosentinel.com/news/weather/orl-ivan-gallery,1,2382534.storygallery 13 For full Orlando Sentinel Hurricane Jeanne coverage, see http://www.orlandosentinel.com/news/weather/orl-jeanne-gallery,1,4176215.storygallery 14 Saying, for instance, that he had studied with Wassily Kandinsky, when in fact, he had no training. 15 I would like to add here that my grandmother, Servart Ayanian Sielian, who is from the same region of Turkish Armenia as Gorky and who arrived in America at around the same time, settling in Massachussetts as Gorky initially did, also used the word “vulgar” quite frequently—often to describe American behavior. 16 This is a belief commonly held by Armenians and derived primarily from the text of Mooradian’s collection of letters that may be mistranslated or non-existent. 17 Partially for the purpose of staying on the rolls of the Works Progress Administration, a form of work relief for artists. 18 This is both political and emotional. 19 My own grandmother never spoke about it and her response to my mother’s tears while she read the Forty Days of Musa Dagh, a novel about a massacre attempt, was simply a resigned, “we have cried enough.” In response to my mother’s inquiries into the fate of her father’s sister, my grandfather replied only that, “she was taken away.” Which might have meant as a sexual slave to Turkish soldiers, to be killed, or that she died somehow before he and his parents reached Egypt to find passage to America. 20 A term coined by Raphael Lemkin. 21 See Bakalian, Armenina-Americans. 22 This phenomenon is discussed in detail in John Bodnar, The Transplanted: A History of Immigrants in Urban America (Bloomington: Indiana University Press, 1985). 23 See Schwabacher. 24 See Karlen Mooradian, Arshile Gorky Adoian (Chicago: Gilgamesh Press, 1978). 25 See André Breton, “Arshile Gorky,” Surrealism and Painting (New York: Harper and Row, 1972). WORKS CITED Ash, John. “Arshile Gorky: How My Mother’s Embroidered Apron Unfolds in My Life.” Artforum 34.1 (September 1, 1995): 79, 121. Baigell, Matthew. Jewish-American Artists and the Holocaust. New Brunswick, NJ: Rutgers UP, 1997.
Transaction Publishers, 1993. ---. “Arshile Gorky and the Armenian Genocide.” Art in America 84.2 (February 1996): 58-67, 108-109. Balakian, Peter. Black Dog of Fate. New York: Broadway Books, 1997. Bedrosian, Margaret.The Magical Pine Ring: Culture and Immigration in American-Armenian Literature. Detroit: Wayne State UP, 1991. Boyajian, See Levon Z. and Haikaz M. Gregorian. “Reflections on the Denial of Armenian Genocide.” The Psychoanalytic Review 85.4 (August 1998): 505-16. Breton, André. “Arshile Gorky,” Surrealism and Painting. Trans. Simon Watson Taylor. New York: Harper and Row, 1972. 199-200. Burliuk, Mary. “Arshile Gorky.” Color and Rhyme 19 (1949): 2, 4. Dennison, George. “The Crisis-Art of Arshile Gorky.” Arts Magazine 37.5 (February 1963): 14-18.
Gorky, Arshile. “My Murals for the Newark Airport: An Interpretation,” Murals Without Walls: Arshile Gorky’s Aviation Murals Rediscovered. Ed. Ruth Bowen. Newark: Newark Museum, 1978. Herrera, Hayden. “Gorky’s Self Portraits: The Artist by Himself.” Art in America 64 (March 1976), 56-64. Kalayjian, Anie S., Siroon P. Shahinian, Edmund L. Gregerian, and Lisa Saraydarian. “Coping with Ottoman Turkish Genocide: An Exploration of the Experience of Armenian Survivors.” Journal of Traumatic Stress 9.1 (1996).
Sources, and Meaning.” Arts Magazine 58 (January 1984): 96-104. Lader, Melvin. Arshile Gorky. New York: Abbeville P, 1980. Levy, Julien. Arshile Gorky. New York: Abrams, 1966. Mirak, Robert. Torn Between Two Lands: Armenians in America 1890-World War I. Cambridge: Harvard University Press, 1983. Mussikian, Ruth.. Interview by Karlen Mooradian. The Many Worlds of Arshile Gorky. Chicago: Gilgamesh P, 1980. Oshagan, Vahe. “Self-Image of Armenians in Modern Literature.” The Armenian Image in History and Literature. Ed. Richard G. Hovanissian. Malibu: Udena Publications, 1981. Neimeyer, Robert A., Holly G. Prigerson and Betty Davies. “Mourning and Meaning.” American Behavioral Scientist 46.2 (October 2002): 235-251. Noguchi, Isamu. Interview. Karlen Mooradian. The Many Worlds of Arshile Gorky. Chicago: Gilgamesh P, 1980. 180-185. Said, Edward. “Reflections on Exile.” Reflections on Exile and Other Essays. Cambridge, MA: Harvard University Press, 2000. Saroyan, William. “A Note on Hilaire Hiler.” Why Abstract? Hilaire Hiler, Henry Miller, and William Saroyan. New York: New Directions, 1945. Scwabacher, Ethel. Arshile Gorky. New York: Macmillan, 1957. Tashjian, Dickran. “Arshile Gorky’s Armenian Script: Ethnicity and Modernism in the Diaspora.” Bucknell Review 30.1 (1986): 144-61. ---. Surrealism and the Avant-Garde 1920-1950. New York: Thames and Hudson, 1995. Wolff, Theodore F. “The Many Masks of Modern Art.” Christian Science Monitor. 23 September 1981. Section: Home Forum , p. 20. Download 374.82 Kb. Share with your friends:
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