Numer 51 (4/2018)
Redaktorzy: Luz Mar González-Arias, Monika Glosowitz


Spis treści
Strony
Pobrań
Luz Mar González-Arias,
Monika Glosowitz
Pain and the Affects: The Witness. The Cure. The Healing
DOI: 10.19205/51.18.1
13 – 23
PDF (40)

Afiliacja

1 University of Oviedo / Department of English, French and German Studies
2 Uniwersytet Śląski / Wydział Filologiczny
Shadia Abdel-Rahman Téllez
The Poetics of the Body in Pain: Wordlessness, Figurative Language and the Chronic Pain Experience
DOI: 10.19205/51.18.2
27 – 41
PDF (30)

Słowa kluczowe

Chronic Pain, Figurative, Language, Art, Body

Streszczenie

Pre-linguistic expressions and literal language are inadequate to describe pain. The former only informs of the presence of bodily pain, while the latter cannot explain purely physical phenomena. Figurative language is thus the alternative to communicate and describe the pain experience. The analysis of texts written by real-life chronic pain sufferers sheds light on the cultural component of metaphors and the conceptual strategies used in the symbolic construction of the pain experience.

Afiliacja

University of Oviedo / Department of English, French and German Studies
Dilek Menteşe Kıryaman
Torture and Objectification of Pain in Elizabeth Gaskell’s North and South
DOI: 10.19205/51.18.3
43 – 59
PDF (27)

Słowa kluczowe

Working Class, Industrial Novel, Elizabeth Gaskell, North and South, Torture

Streszczenie

Elizabeth Gaskell’s North and South (1855) portrays the “Condition-of-England-Question”. As an industrial novel, North and South demonstrates the problems in Victorian society caused by industrialism, and offers solutions, in order to educate the middle-class reader about the conditions of the poor. As such, the novel employs characters who represent their social classes. Bessy Higgins, for example, can be considered as a spokesperson for the working class, and her status is illustrated by her pain and suffering body, the result of the disease she has developed while working in unhealthy conditions in the factory owned by Hamper. Within this framework, her illness becomes the signifier of industrialism. Her pain and bodily suffering might be regarded as “torture” since she had no other option than to work in terrible conditions. Even though torture is marked by corporeal or psychological suffering, I am also considering it metaphorically to understand Bessy’s status. In other words, she is not tortured directly and literally with the aim of torment, still, she is in pain and becomes a manifestation of it. Thus the torturer becomes the factory owner, who stands for the capitalist system, and the tortured is Bessy, whose objectified pain is denied as pain, thereby revealing the power of the torturer. As a result of this objectification, while Bessy’s tortured body becomes more apparent, her “self” becomes more and more absent. In this respect, the aim of this paper is to analyse the pain of the working-class characters, especially Bessy, in North and South to explore their objectification through the “torture” that becomes a symbol of the power of the industrial system, and highlights the disruption of their “selves”.

Afiliacja

Ege University, İzmir / Department of English Language and Literature
Máximo Aláez Corral
“I Never Want to Avoid Pain”: The Hurt Body and the Construction of Pain in Nan Goldin’s Photography
DOI: 10.19205/51.18.4
63 – 77
PDF (21)

Słowa kluczowe

Nan Goldin, Photography, Pain, Violence

Streszczenie

In this article I will analyse the ways in which American photographer Nan Goldin deals with the representation of pain in her work. Using an interdisciplinary theoretical framework, I will dissect some of her photographs to illustrate how the visual rendering of hurt bodies can be used to reveal the constructed nature of pain: how pain is sublimated by means of aesthetics and narration, and how Goldin can be identified as both a suffering individual and a watcher of other people’s pain.

Afiliacja

University of Oviedo / Department of English, French and German Studies
Kate Antosik-Parsons
Split Asunder: Obstetric Violence and Pain in Máiréad Delaney’s At What Point It Breaks (2017)
DOI: 10.19205/51.18.5
79 – 96
PDF (16)

Słowa kluczowe

Pain, Performance Art, Gendered Violence, Ireland, Childbirth

Streszczenie

This article examines the embodiment of pain in artist Máiréad Delaney’s performance At What Point It Breaks (2017). Drawing upon the gender-based violence of symphysiotomy and its resulting pain, Delaney’s work employs an affective aesthetics and negoti-ates a breach in representation, thus facilitating viewer engagement with the performance as a means of critiquing the insidious control of women’s bodies and the resulting reproductive injustices in Irish society.

Afiliacja

National College of Art and Design, Dublin / School of Visual Culture
Justyna Stępień
Affective Entanglements of Posthuman Bodies in Pain in Matthew Barney’s Drawing Restraint 9
DOI: 10.19205/51.18.6
99 – 111
PDF (44)

Słowa kluczowe

Mathew Barney, Affective Encounters, Posthuman Bodies, More-than-representational Theory, Affirmative Aesthetics

Streszczenie

This article analyses Mathew Barney’s 2005 experimental film Drawing Restraint 9 in the context of affective entanglements of the human body with biological, technological and geological processes. The artist’s production, as the paper proposes, indicates the necessity to rework the heightened hierarchical relationships of humans with non-human worlds. The bodies in pain—both human and non-human—in his work undergo constant morphogenesis, becoming a complex multiplicity with multiple layers of reference far beyond the human-social paradigm. As the paper implies, by referring to the writings of Gilles Deleuze and Felix Guattari and their new materialist theoretical reworkings, Barney’s film reveals unfolds the sustainability of interconnections and intra-actions of different matters that produce forms of socio-cultural resistance, eventually opening up possibilities of bodily regeneration.

Afiliacja

Uniwersytet Szczeciński / Wydział Filologiczny
Alina Mitek-Dziemba
Vulnerability, Mourning and Religious Compassion: A Cross-Species Perspective
DOI: 10.19205/51.18.7
113 – 129
PDF (33)

Słowa kluczowe

Vulnerability, Aesthetic of Affect, Religion, Animals, Mourning

Streszczenie

The aim of this article is to discuss the notion of vulnerability and suffering as an aspect of animal bodily existence that, despite its negative connotations, is a highly interesting point of convergence for human-animal studies and the branch of aesthetics concerned with the interplay of individual and collective affectivities in the works of art. Arguing for the existence of a cross-species community of affect, the author bases her analyses on Judith Butler’s ontology of precariousness and seeks to establish a vital connection between the political and social experience of vulnerability on the one hand, and rituals of mourning inspired by compassion on the other. The argument points to the possibility of charting new trajectories of affect in political praxis and art which do not only establish a cross-species community of suffering, but also bridge the gap between humans and animals as religious subjects, which is conceived here as a profoundly emancipatory gesture.

Afiliacja

Uniwersytet Śląski / Wydział Filologiczny
Isabel Alonso-Breto
Riding the Sea Word
133 – 145
PDF (16)

Afiliacja

Universitat de Barcelona / Department: Llengües i Literatures Modernes i Estudis Anglesos
Kelley Swain
Three Poems
149 – 153
PDF (19)
Anna Adamowicz
Three Poems
155 – 159
PDF (25)
Pobierz cały numer
1 – 166
PDF (44)
Instytut Filozofii, Uniwersytet Jagielloński
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