Browsing by Department "Literature"

This dissertation makes a case that sexual difference, to date, has been a deeply misconceptualized philosophical concept. Too often reduced to only one expression of itself—the difference between the sexes—critiques of sexual difference as essentialist, heterosexist, transphobic, and race-blind are based on this limited definition of it as an identity category. Its scope, however, expands far beyond its anthropomorphic or human-centric expression and, I argue, it is only by opening up the concept as an ontology that we can begin to conceive new, nuanced, philosophically-grounded ways out of sexist, racist, transphobic, capitalistic and colonialist metaphysics whose roots run so deep that their foundational frameworks are often left unchallenged. This requires stretching sexual difference from an epistemological project that centers “the knower,” often “Woman,” to an ontological framework that constitutes the condition of possibility for epistemology itself. In other words, sexual difference is not reducible to the sex of the knowing subject but founds the logic that there are always at least two ways of knowing, thinking, and being that are irreducible to, or non-collapsible into each other. An ontology of sexual difference requires moving beyond the concept’s historical basis in feminist critiques of psychoanalysis, and even beyond feminist theory itself, where—in its current form—it remains trapped in a tired and boring binary debate between social constructivists and new materialists.

A Meta-Physics of Sexual Difference aims for a way out of this dualism within feminist theory by proposing sexual difference as the organizing, incorporeal principle of reality itself. Open-ended throughout—neo-finalist rather than teleological—this takes sexual difference further than it has ever been taken before—beyond its role as the engine of evolution proliferating life, even beyond inciting the emergence of life itself from non-living matter. Sexual difference, if it is to be a truly revolutionary metaphysics or first philosophy, must begin from the very beginning, with the origins of space-time For this reason, this project engages deeply and seriously with contemporary physics, and in the spirit of Irigaray, has both critical and creative components.

The first half critiques contemporary Western physics for its unconscious but undergirding phallocentrism—an unacknowledged commitment to a logic of replicating self-sameness, containment, and unification. This is most palpable in the practically unanimous desire to unify all the “self-contained” structures of physical reality—from the smallest subatomic particles to the large-scale cosmological universe itself—into a totalizing “theory of everything.” Doing this, however, would require solving for “quantum gravity,” the biggest challenge the field faces today. It implies overcoming the logical contradiction at the heart of physics—the incompatibility between two theories of nature—general relativity, which governs large and very massive structures, and quantum mechanics, which governs small and light structures. Our best current theory for gravity—Einstein’s general relativity—refers to the curvature of space-time on which quantum fields emerge, but it cannot, and has never been quantized itself. Ever-elusive and enigmatic, quantum gravity is a feminine symptom that seems to situate itself at the boundaries between the physical and the meta-physical, i.e., what is before the Big Bang, above the speed of light, below the Plank scale, and inside black holes. Posed at these thresholds, we may begin to think of quantum gravity as the interval itself.

It is precisely here, in the second half of the dissertation, that sexual difference stages its constructive intervention. As a logic of co-constitutive “twoness,” it emphasizes the relation from which two things emerge rather than trying to enclose two things into one container. Applying this to the “incompatibility” between general relativity and quantum mechanics, I propose embryogenesis, a philosophical concept borrowed from Raymond Ruyer, as a new “model” for physical reality that emerges only by beginning from this different logic or meta-physics for physics: sexual difference rather than phallocentrism. As the condition of possibility for physics, meta-physics itself is the maternal-feminine par excellence, opening physics and feminist theory to an ontological alliance via sexual difference. “Embryogenesis” could be conceived of as an alternative framework to the “theory of everything” for physicists to take up in the future, which may even change the way the problem of quantum gravity is conceptualized. In embryogenesis, quantum reality is not stuffed inside our gravitational universe as it is framed by the epistemological Copenhagen formulation that centers the observer. Inversely, this proposal relies on the only ontological interpretation of quantum mechanics that exists—Hugh Everett’s Many Worlds. Many-worlds theory makes the case that fundamental quantum reality is a Hilbert space in which our universe is represented by a quantum mechanical wave-function that decoheres—splits or branches or sexuates—each time the self-entanglement of the system as a whole evolves. Hilbert space is therefore the “quantum womb” within which our embryonic universe makes itself by evolving and expanding the local geometry of space-time. Quantum gravity, in this context, may be the interval between realms that nourishes this process of embryogenesis, perpetually self-differentiating the realms from each other, but also supplying their mutual growth and development, by crossing the threshold from the non-local, virtual, “in-formational,” or trans-spatial maternal matrix into our gravitational universe and converting itself into the mysterious “dark energy” that supplies the ongoing growth and development of its structuration.

This dissertation applies the concept of a therapeutic emotional style, drawn from the cultural study of the emotions, in a historical and theoretical interpretation of ascendant psychoanalytic discourse in modernist studies. I historicize the ascendance of a “therapeutic style” in modern novels and literary criticism through genealogical analysis of the legacy of Joseph Conrad’s Heart of Darkness. I approach the novel’s tradition historically, in terms of Eva Illouz’s account of therapy, and theoretically, in terms of Edward Said’s ideology critique of imperial culture. Turning to novelists Graham Greene and Paule Constant, the psychoanalytic theory of Sigmund Freud and Karen Horney, and American Vietnam War novels read alongside Robert Jay Lifton’s trauma theory, I establish the basis for understanding why Heart of Darkness has been institutionalized as a paradigmatic text for the therapeutic culture of modern and contemporary literature and literary criticism.

My dissertation, Abolitionist Futures: Black Cultural Imagination at the End of the World, examines abolitionist imagination in the cultural production of black American writers, creatives, activists, and thinkers. From its inception in the nineteenth century, abolitionism has evolved from a social movement to abolish the institution of chattel slavery to a political tradition. Presently, abolition is as a critical method of understanding the genealogy of contemporary practices of racialized social management as an extension of racial subjugation that originated during the era of plantation slavery in the United States. Because the concept of abolition fundamentally grapples with the question of radical social transformation, it also raises a set of questions about the dual tension between hope and despair, optimism and pessimism, fugitivity and enclosure. At its core, abolition is about sustaining the capacity to imagine an otherwise, despite and in spite of violence, captivity, and coercion. With this in mind, this dissertation asks: what is the role of radical imagination in not only envisioning the destruction of existing social structures but in conjuring up and bringing forth abolitionist futures?

In the growing body of academic literature on the subject, abolition is most often considered from the perspective of political theory. In media, contemporary abolitionists are often portrayed as radical militants, who desire violence and destruction. These accounts of abolition do not sufficiently consider the creative impulse that is inherent to abolitionist thought. Black creative imagination, I argue, is fundamental to abolitionism as in itself a form of social critique that draws on speculative imagination to deconstruct reality. In this project, I turn to creative imagination expressed in the twentieth- and twenty-first century black-authored literary and artistic texts that envision the abolition of the social world by imagining alternative futures and speculating about new ways of being in the world. By engaging a range of aesthetic forms across several genres and mediums, I trace abolitionist thinking in black speculative fiction, contemporary multi-media art, and digital activist culture precisely in order to suggest the importance of taking seriously the imaginative potential of abolitionism.

The examples of imaginative cultural criticism, as it pertains to abolitionist thought, can be located in the science fiction of W. E. B. Du Bois and in the horror fiction of Jewelle Gomez, in the contemporary mixed-media art of Titus Kaphar and Harmonia Rosales, as well as in digital art produced by digital users on social media platforms. These creative works uncover the ways in which abolitionist imaginary makes an appearance in black cultural and intellectual production that is not immediately considered to be ‘political,’ let alone abolitionist. Nevertheless, as I suggest, it is precisely these obscure creative works of abolitionist imagination that can help understand the many contingencies of abolitionist thought in the present day and, more precisely, help answer the question of what it means to locate and engage in the practice of radical hope in the face of insurmountable violence in slavery’s afterlife.

Affects are not reducible to feelings or emotions. On the contrary, Affect Before

Spinoza investigates the extent to which affects exceed, reconfigure and reorganize

bodies and subjects. Affects are constitutive of and integral to dynamic economies of

activity and passivity. This dissertation traces the origins and histories of this definition

of affect, from the Latin affectus, discovering emergent affective approaches to faith,

devotional poetry and philosophy in early modernity. For early modern believers across

confessions, faith was neither reducible to a dry intellectual concern nor to a personal,

emotional appeal to God. Instead, faith was a transformative relation between humans

and God, realized in affective terms that, in turn, reconfigured theories of human agency

and activity. Beginning with John Calvin and continuing through the work of John

Donne, John Milton, and Baruch Spinoza, Affect Before Spinoza posits affectus as a basis

of faith in an emergent Reformed tradition as well as a term that informs disparate

developments in poetry and philosophy beyond Reformed Orthodoxy. Calvin's

configuration of affect turns existing languages of the passions and of rhetorical motives

towards an understanding of faith and certainty. In this sense, Calvin, Donne, Spinoza

and Milton use affectus to pose questions of agency, will, tendency, inclination, and

determinism.

This dissertation argues that post-1980 postcolonial novels reinvent allegory as a narrative-cum-visual form to reimagine the nation in a globalized, neoliberal world. Postcolonial novels have long been read by literary critics as national allegories, their narratives of private lives interpreted as signs of a people’s collective march towards redemption in historical time. This form is taken to have flourished during the movements for independence when postcolonial societies, specifically their newly forming elites, posited nation-building as the utopian horizon of individual struggles. But I find that increasingly, postcolonial novels undermine the older allegorical form. J.M. Coetzee’s Waiting for the Barbarians (1980), Wilson Harris’ The Carnival Trilogy (1985-1990), and Zadie Smith’s White Teeth (2000) fashion damned worlds in which the actions of characters resist their narrativization into a shared horizon of redemption. I contend that these novels are still allegories, only of a different kind. They assume an aesthetic of critical redemption akin to that of Baroque allegory, which Walter Benjamin, in The Origin of German Tragic Drama, describes as a method for accessing providential meaning in a world from which God has disappeared. These novels pursue redemption through their critique of the now defunct “god” of the sovereign nation as the protector of a people’s unfolding destiny. They register in their narrative fragmentation postcolonial societies’ loss of a collective sense of history in a globalized, neoliberal world. But they also display in the sheer configuration of narrative fragments, captured in an image and read as an allegorical sign unto itself, the historical time experienced by subaltern populations who could never be assimilated into the nation’s teleological progress to begin with. This dissertation identifies the emergence of a new allegorical form in postcolonial literature that invites readers to survey the ruins of the old bourgeois narrative of nationalism for signs of alternative forms of redemptive horizons.

My dissertation offers a whole new method of reading for history in postcolonial novels, one that follows a novel’s development as both a narrative and an image. Each chapter focuses on one of the above four novels, examining its characteristic syntax of narrative fragmentation – parataxis, concretization, and digression, respectively. If this syntax interrupts a novel’s narrative continuity and obscures its narrative history, it simultaneously makes itself visible over time as something to be looked at; it becomes visible as the visual configuration of narrative fragments. Each novel, ultimately, displays in its syntax the substance of its allegorical message. I argue that while my method finds its most adequate object in post-1980 novels, it affords a new insight into the redemptive, utopian impulse of novels from an earlier time that also register in their narrative fragmentation a critique of the nation. I provide Claude Simon’s The Flanders Road (1960) as an example. Coetzee, Harris, and Smith have all cited the Nouveau Roman as a stylistic influence. If these authors inherit Simon’s narrative techniques, their novels, in turn, retroactively make visible the allegorical form of Simon’s 1960 novel.

This project focuses on the question: how might we understand the politics of contemporary art? Grounding my research in feminist political theory, I argue that art’s most critical function—in the US-based context of neoliberalism—may be found in art’s ability to perform the work of social reproduction. I draw the concept of social reproduction from feminist and critical theory to mean two things. First, regarding social reproduction as a paradigm for social change, I ask how works of art participate in building subjects and structures that prefigure alternative, life sustaining worlds. Second, regarding social reproduction as the labor of care, I develop a theory of art as a source of critical hope and sensible rejuvenation. My work thus complicates the common belief—held for example in critical theory—that sensible stimulation obscures critical awareness and encourages apolitical escape. To the contrary, I find art to offer needed resources for critical world-building precisely through the aesthetic dispositions that artworks prompt. I build this argument through close attention to the work of three US-based women artists: Simone Leigh, Roni Horn, and Mika Rottenberg. By foregrounding the work of these artists in conversation with recent feminist thinking on affect and political economy, my research reorients the discourse on aesthetics and politics away from an emphasis on knowledge and subject representation, toward the undervalued work of somatic care and subject formation.

"Anthropomorphic Attachments" undertakes an examination of the human as a highly nebulous, fluid, multiple, and often contradictory concept, one that cannot be approached directly or in isolation, but only in its constitutive relationality with the world. Rather than trying to find a way outside of the dualism between human and not-human, I take up the concept of anthropomorphization as a way to hypersaturate the question of the human. Within this hypersaturated field of inquiry, I focus on the specific anthropomorphic relationalities between human and humanoid technology. Focusing primarily on contemporary U.S. technologies and cultural forms, my dissertation looks at artificial intelligence and robotics in conversation with their cultural imaginaries in contemporary literature, science fiction, film, performance art, and video games, and in conversation with contemporary philosophies of the human, the posthuman, and technology. In reading these discourses as shaping, informing, and amplifying each other and the multiple conceptions of the human they articulate, "Anthropomorphic Attachments" attends to these multiple humans and the multiple morphologies by which anthropomorphic relationalities imagine and inscribe both humanoid technologies and the human itself.

Art in the Interregnum: The Aesthetics of Transition, 1973-Present adopts the interregnum, a concept imported into critical usage by Antonio Gramsci, as a periodizing framework for understanding cultural production today. While incarcerated in Turin during the early 1930s, Gramsci wrote: “The crisis consists precisely in the fact that the old is dying and the new cannot be born; in this interregnum a great variety of morbid symptoms appear.” Adapting this formulation to the era of neoliberal globalization, I argue for reading contemporary works of art in relation to the long crisis of the 1970s, examining how writers, photographers and filmmakers encode the “morbid symptoms” of the contemporary, which include the erosion of liberal democracy, the rise of mass migration, and the exhaustion of modernization. I devote three chapters to the phenomena enumerated above, analyzing, respectively, Roberto Bolaño’s By Night in Chile (2000) and Pablo Larraín’s Tony Manero (2009) as a return to the primal scene of neoliberalism—the 1973 U.S. backed Chilean coup; the photography Harry Gamboa Jr. and Anthony Hernandez as competing representations on the mobility of labor; and the recent fixation with landscape in recent photography and fiction as an aesthetic challenge to the expansive logic of economic development. What brings these works together is a commitment to what I call the “aesthetics of transition,” a mode of representation that attempts to make visible the interregnum between the failure of existing political structures and emerging social forms, bringing the post-1970s into view as an historical period.

“Between Boys: Fantasy of Male Homosexuality in Boys’ Love, Mary Renault, and Marguerite Yourcenar” examines an unexpected kinship between Boys’ Love, a Japanese male-on-male romance genre, and literary works by Mary Renault and Marguerite Yourcenar, two mid-twentieth century authors who wrote about male homosexuality. Following Eve Sedgwick, who proposed that a “rich tradition of cross-gender inventions of homosexuality” should be studied separately from gay and lesbian literature, this dissertation examines male homoerotic fictions authored by women. These fictions foreground a disjunction between authorial and textual identities in gender and sexuality, and they have often been accused of inauthenticity, appropriation, and exploitation. This dissertation cuts through these critical impulses by suspending their attachment to identitarian thinking and a hierarchical understanding of political radicality in order to account for the seduction of fantasy in these texts.

Exploring narrative strategies, critical receptions, textual and extra-textual relationalities produced by the three bodies of works, this dissertation delineates a paradigm for reading cross-gender homoerotic texts that is neither gay nor queer, neither paranoid nor reparative, and instead focuses on fantasy and how it produces pleasure. Fantasy is used in two senses here: as a preoccupation with relationships in romantic fantasies and as a desire to depart from the here and now. By thinking through both forms of fantasies, I examine the misalignments between identity and identifications in Boys’ Love, Renault’s historical novels about ancient Greece, and Yourcenar’s cross-identifications with gender, temporal, and cultural otherness. Close readings of not only the texts in question, but also discourses around them reveal erotic relationalities both within and outside of male homoerotic fantasies. The end of the dissertation reroutes my discussions back to Japan and debates about gay authenticity in order to foreground fantastical connections that would otherwise be overlooked in a reading that focuses more on identity than disidentifications, cross-identifications, and relationalities.

In spite of a host of early twenty-first century claims regarding the dawn of a "post-racial" or "anti-racial" era, race remains an important problem for understanding contemporary power. This dissertation provides a genealogical examination of the multiple forms and functions that comprise white raciality in the twenty-first century United States. Situating whiteness in relation to the social and financial circuitry of neoliberal globalization, I contend that it is an inextricable component of an emergent mode of governmentality. A critique of scholarly work in and around Whiteness Studies conditions the theoretical interventions of the project as a whole and grounds my argument for a new framework of analysis.

Following the work of Michel Foucault, I investigate the development of a novel form of whiteness whose undergirding logic functions not by differentiation but by way of similitude. Instead of emphasizing and enforcing exclusions upon difference, this `sympathetic' form of raciality works to neutralize and recuperate it. Finally, via Gilles Deleuze and Félix Guattari, I discuss the necessity of reimagining race ontologically as well as epistemologically, and confronting its collusion with other forms of power in order to analyze the risks that the flexibilization of whiteness poses--to subjects living under its rule and to its own conditions of existence.

Big House: Women, Prison, and the Domestic, addresses the development of the contemporary US carceral state, foregrounding the confinement and control of women and the evolving ideological frameworks and disciplinary techniques that guided women’s incarceration beginning with the inception of state-run women’s prisons in the nineteenth century. These new prisons for women reproduced and refined modes of capture intrinsic to the modern domestic home and, in turn, served as a laboratory for the further development of domestic forms of discipline, making up what I term “the carceral domestic.” By focusing on the women’s prison, and on women’s confinement more generally as it relates to the home and housing, this project expands the critical archive that accompanies contemporary critiques of mass incarceration. The dissertation consists of three sections. The Birth of the Carceral Domestic, A Women’s Prison in Three Acts, and Home Economics, covering the early period of the sex-segregated women’s prison in the nineteenth century, the development of gendered forms of carceral control through practices of confinement and exclusion over the twentieth, and the contemporary women’s prison in the age of mass incarceration and neoliberal privatization. I draw on a broad range of materials and genres, including personal narratives, domestic homemaking manuals, TV shows, judicial opinions, prison policy codes, and acts of Congress. Through these varied accounts of the intersecting spheres of prison and home, Big House contests the fixity of the boundaries between them, and writes gender into conversations about mass incarceration.

Border Images and Imaginaries: Spectral Aesthetics and Visual Media of Americanity at the U.S.-Mexico Border, proposes an emerging aesthetic of spectrality in visual media about the U.S.-Mexico border that challenges the power of militarized and racialized visibility. The visual media projects I work with, including cinema, electronic performance art, site specific video installation, and photography generate an aesthetic of spectrality as they try to conjure and express the socially invisible through sensual elements like affect, sound, kinaesthetics, and full embodiment. This aesthetic elicits the perceptions of our other senses beyond only the visual and makes visible the social flesh of the movements and socialities of migration rather than racialized, migrant bodies. The border, I claim, is an important site for understanding the continued deployment of visibility in the neoliberal legacies of what Quijano and Wallerstein call, Americanity, a term denoting the development of the modern capitalist system in the Americas which relied upon the imbricate logics of colonialism, racism, and the deification the modern. Images of spectrality are intermediaries between what Diana Taylor calls, archive and repertoire, being both documents and sites of embodied engagement that produce both certain and uncertain knowledges of race and migration at the border. The visual media projects in my dissertation cultivate spectral aesthetics to theorize an alternative visibility and the changing production of public memory. By making visible the social flesh of heterogeneous encounters with media, spectral aesthetics reforms collective memory making it a process of democratic editorialization that privileges experience as the site of a multivocal history. This project reclaims the image as a terrain for the multitude's inquiry and imagination about the US-Mexico border, and puts the imaginaries generated by these images in dialog with activist projects happening in relation to immigration.

This dissertation investigates the relation between the formation of "Blackness" and the Western tradition of sovereignty through the works of late twentieth century Black Radical theorists. I most specifically examine the work of Stokely Carmichael, Amiri Baraka, Frantz Fanon, and Huey P. Newton in order to delineate a shift within Black Radicalism which, due to an intense de-linking of Black nationalism from the concept of territorial sovereignty throughout the 1960s and early 1970s led to the formation of a new subjectivity ("Blackness") oriented against and beyond the Western tradition of political sovereignty as a whole.

This dissertation begins by outlining the parameters of the concept of sovereignty as well as its relation to conquest, coloniality, and racialization more generally. I then examine the formation of Black Power as an expression of anti-colonial sentiments present within the United States and uncover there the influence of W.E.B. DuBois' concept of double-consciousness. I then further examine the concept of Black Power through the work of Amiri Baraka and his notion of "Blackness" as the proximity to "home." Each of these expositions of Black Power are undertaken in order to better understand the era of Black Power and its relation to both Black nationalism and the Western tradition of sovereignty.

Next, I turn to the work of Frantz Fanon, whom I claim prepares the way for the idea of "Blackness" as an ontological resistance beyond, not only the territorial imperative, but also the logic of sovereignty more generally. This notion of "Blackness" as an antidote to sovereign logic present within the work of Fanon allows me to turn to the work of Huey P. Newton in order to demonstrate his conceptualization of "Blackness" as an antagonistic subjectivity within a fully globalized society whose onset he had theorized and which he termed "empire." I conclude by drawing on each of the above theorists as well as the work of Angela Davis in order to build a retrospective summary of this alternative lineage of the Black Radical Tradition and its importance for the conceptualization of resistances to and life beyond our contemporary society.

The advent and generalization of digital computing machines in the twentieth century spelled a wholesale revolution in communication technologies. As with every technological revolution, this one came irreducibly co-involved with transformations in the economic sphere. In the latter half of the twentieth century, this meant financialization, which comprised an exponential expansion in the size and power of finance, a reversal in preeminence between the “real” and the financial economy, and the saturation of an increasing proportion of social processes with financial logics and evaluative criteria. None of these developments would have been possible without digital computers. This dissertation, Cash Flows: A Media Archeology of Financial Engineering, 1958-1987, details the involution between late-twentieth century finance and digital media, demonstrating that to understand finance, we must understand the digital, and to understand the digital, we must understand finance.Financialization and the computerization of finance can be accounted for, I show, under the rubric of financial engineering, a distinct mode of financial operation that emerged beginning in 1958. Financial engineering combines a novel conceptual scheme with novel technologies. The conceptual scheme, no-arbitrage, takes over for earlier neoclassical understandings of economic and financial operation based on equilibrium; it shifts the responsibility for the maintenance of “true” prices from the counterbalancing forces of spontaneous rational actors to the concerted efforts of financial theorists. Concomitantly, I show, it uses digital computers to transform financial theory from a post facto, empirical, and descriptive venture to an ex ante, speculative, and constructive one. Financial theory becomes a real-time data processing operation. Drawing on media theory and the philosophy of technology and updating the foundational account of human-machine interaction offered by the French philosopher of technology Gilbert Simondon, Cash Flows offers a way to understand how media transformation drove financialization, what financialization tells us about media transformation, and what consequences we should expect from the continued generalization of digital technologies. The revolution of the digital, as I detail, involves a profound change in the relationship between machines and symbols. Rather than simply reproducing symbols—a capacity machines had possessed since at least the fifteenth century—digital machines operationalized them. As Cash Flows argues, the fundamental factor in last century’s financial transformation was the newfound ability of machines to transform symbols into actions. Digital computers enabled finance to machinically operationalize social and subjective processes humans carry out as a matter of course. Concomitantly, then, the saturation an increasing proportion of social processes by digital media is equally finance’s conquest of the social. All the consequences we see within the finance narrowly defined—from the construction of totalizing interconnection between elements that had previously been understood as belonging to separate spheres; to the transformation of psychic and social flows into value-generating data streams; to the enlistment of the human as a co-processor of digital data; to more frequent, more widely ranging, and more severe crises amplified by feedback loops between humans and machines—are equally the social consequences of digitization.

In 1925, Sigmund Freud wrote a short preface for August Aichhorn’s forthcoming book, Wayward Youth. There, Freud hailed ‘the child’ as the future of psychoanalysis, declaring that “[o]f all the fields in which psychoanalysis has been applied none has aroused so much interest… as the theory and practice of child training. …The child has become the main object of psychoanalysis research” (Freud, p. v). Freud’s observation was prophetic as the figure of the child did indeed become the central focus of psychoanalysis’s theories of psychic life in the decades that followed. Throughout the interwar and postwar periods in Western Europe, child analysis became the most innovative and influential strain of psychoanalysis as child analysts turned their gaze, clinically and socially, to the formative impact of the mother-child relation. As I show, psychoanalysts used the figure of the child to expand the political reach of their work by mobilizing the clinic as a site through which to theorize politics.

In my dissertation, I analyze the ascension of the child as a way into a broader consideration of the political life of psychoanalytic practice in the twentieth century. In the wake of World Wars, mass casualties, and the dramatic reorganization of Europe, child analysts like Anna Freud, Melanie Klein, D.W. Winnicott, and John Bowlby reinvented clinical practice for the child patient according to explicitly political idioms. The analytic exercise of paternal "authority," the cultivation of maternal “reparations,” and the maternal facilitation of an inherent “democratic tendency,” and the provision of maternal “security” were just some of the ways that these child analysts defined their clinical work. Tracing these techniques through the rise and fall of democracy in interwar, wartime, and postwar Europe, I argue that the clinic became a proto-political laboratory where psychoanalysts experimented with different formats of political action and relation. For these analysts, the clinic was anything but apolitical. But, in contrast to analyses that address the abstract connotation of these terms, in my analysis I focus specifically on their gendered dimensions, revealing how political concepts like authority, reparation, democracy, and security were reconfigured in the clinic according to the perimeters of maternity and paternity. As I contend throughout, the child analytic clinic provided a site for explicitly gendered forms of political theorizing.

In Chapter One, “On Good Authority: Anna Freud, Child Analysis, and the Politics of Authority,” I chart how Anna Freud postulated the clinical necessity of paternal authority, situating her work within interwar political debates about the relationship between democracy and authority. In Chapter Two, “Beyond Repair: War, Reparation, and Melanie Klein’s Clinical Play Technique,” I interrogate the ethical status of Klein’s clinical idealization of maternal reparations by contextualizing them within wartime Britain and the effects of German reparations. Chapter Three, “Mothering a Nation: D.W. Winnicott, Gender, and the Postcolonial British Welfare State,” reads Winnicott’s “Piggle” case study in order to elaborate how Winnicott’s theories of good enough mothering and an inherent democratic tendency were grappling with the effects of British decolonization. In chapter four, “States of Security: John Bowlby, Cold War Politics, and Infantile Attachment Theory,” I reveal how the language of maternal security that Bowlby promoted in his clinical work buttressed a growing Cold War emphasis on national security.

Child’s Play contributes to a growing body of scholarship by feminist theorists, historians, and political theorists like Suzanne Stewart-Steinberg (2011), Sally Alexander (2012), Michal Shapira (2013), Eli Zartesky (2015), Daniel Pick and Matt ffytche (2016), and Dagmar Herzog (2017) that showcases how psychoanalysis was influenced by—and, in turn, had a decisive influence on—the political climates it inhabited. My project adds to this work an explicit focus on the psychoanalytic clinic and the gendered scientific techniques developed therein. Although the psychoanalytic clinic has often dismissed for being either politically isolated or irredeemably normalizing, one of the overarching arguments that I make throughout this project is that a keen attention to clinical technique—to the unique scientific methods analysts developed to relate to and treat the psyche of the modern child—is an invaluable resource for understanding the political reach of psychoanalysis. Critically, these child psychoanalytic vocabularies and techniques developed together with the spread of liberal democracies following World War I and, to the extent that they narrate modern political affiliations through psychological narratives of childhood, they are still at the forefront of fervent political contestations today.

In 1949, Bell Lab mathematician Claude Shannon modeled telephone communication by assigning statistic regularity to the rather irregular usage of human language. His lab mate Warren Weaver took a step further, putting the novel Alice in Wonderland through a translation machine in pursuit of a unified form of intercultural communication. Amidst the ideological polarities of the Cold War, this rationalist pursuit was idealistic. Yet today it still guides the scholarly approach to intercultural communication. This approach to data analysis poses a problem: the corporate sector simply has far superior systems of aggregating data and manipulating information, while individual academics would either have to ally with the world’s most popular social media or be forever trapped in isolation and by deficits. My work, on the contrary, focuses on the advantages of studying deficits. It questions why and how details are deliberately stripped out, why and how experience is transformed into algorithmic power, all for creating the impression of mere “data.”

This dissertation has two main objectives, one inwardly focused, the other outwardly oriented: first, to create a dialogue between literary studies and media studies through discussions of informational loss; second, to shift the narrow focus of North American and German media theory by drawing broadly on the material history of literature, media, and art from modern and contemporary China. China studies, a field born out of Cold War contexts in the West, have thus far developed under the growing pressure to track the particularities of this cultural other like China, without paying much attention to what documents are doing to a history rife with deliberately omitted information. This dissertation rectifies this mistreatment of lost details. Targeting communication scholar Marshall McLuhan’s provocation that “the medium is the message,” we may say that what is missing is the message; preserving what is missing in a cultural other end up making us not see China at all.

How do we approach objects that are opaque and always disappearing from view? This study locates this issue at the intersection of media theory and literary theory through reviewing key historical moments in both fields: this study examines the archival compression of the historical figure and the corpus called “Lu Xun” (1881-1936) to rethink the destructive role of print media in constructing Chinese modernity; returns to the industrial production of “books to lose” in the Great Leap Forward (1958-1960) to rethink the inevitable, functional bias of preservation in historiography; reviews the 1980s’ indulgence in a kind of “information fetishism” to reveal that opacity, too, can be a political ideal; and evaluates the claim of China’s 5G and AI “authoritarian networks” to expose the problematic metaphors of informatics. Each of the four chapters draws on literary and artistic texts, including Lu Xun’s untranslated essays (chapter 1), Yan Lianke’s fictional historiographies (chapter 2), Liu Cixin’s politicized science fiction (chapter 3), and emerging media arts in China (chapter 4). Referring to what tends to be hidden by acts of collecting, what becomes opaque, and what gets erased when the technological context is neglected, I borrow the term “lossy” from computer science. This term circumvents the notion of history based on static archives and their imaginary solidity. Interweaving two distinct threads of exposition (media studies and literature), this dissertation provides a multi-fold narrative about history, politics, and China.

This dissertation examines French and Francophone texts, contexts and thematic problems that comprise a genre I call "ethnographic fiction," whose development we can trace throughout the twentieth century in several geographic locations and in distinct historical moments. During the twentieth century in France, anthropology as an institutionalized discipline and "literature" (writ large) were in constant communication with one another. On the one hand, many French anthropologists produced stylized works demonstrating aesthetic sensibilities that were increasingly difficult to classify. On the other hand, though, poets, philosophers and other literary intellectuals read, absorbed, commented on and attacked texts from anthropology. This century-long conversation produced an interdisciplinary conceptual field allowing French anthropology to borrow from and adapt models from literature at the same time as literature asserted itself as more than just an artistic enterprise and, indeed, as one whose epistemological prerogative was to contribute to and enrich the understanding of humankind and its cultural processes. In this dissertation I argue that fiction can be seen to travel in multiple directions within France's twentieth-century conversation between literature and anthropology such that we can observe the formation of a new genre, one comprised of texts that either explicitly or more implicitly fuse fictional forms and contents together with the methodological and representational imperatives of anthropology and ethnographic fieldwork. Additionally, I argue that fiction moves geographically as well, notably from the metropole to Francophone West Africa which became an anthropological hotspot in the twentieth century once extended field research was legitimated in France and armchair anthropology was thoroughly discredited. By investigating ethnographies, novels, memoirs and films produced both in metropolitan France, Francophone West Africa, and the French Caribbean (including texts by Michel Leiris, Amadou Hampâté Bâ, Jean Rouch, Jean-Claude Izzo and Raphaël Confiant), I aim to shed light on the kinds of work that elements of fiction perform in ethnographic texts and, by contrast, on how ethnographic concepts, strategies and fieldwork methods are implicitly or explicitly adopted and reformulated in more literarily oriented works of fiction. Ethnographic fiction as a genre, then, was born not only from the epistemological rapprochement of anthropology and literature in metropolitan France, but from complex and often fraught encounters with the very locations where anthropological praxis was carried out.

I argue in this dissertation that “climate impasse” — knowing much and doing little about climate change — has become a defining political, social, and cultural problem of the contemporary period (1980s to the present). Supposing that representations of impasse reveal something about the origins, features, and trajectories of U.S. climate politics, I perform close readings and historical analyses of exemplary texts across a range of media (novels, feature films, eco-political manifestos) to consider how the gap between knowing about climate change and doing something about it has been narrated in four U.S. environmental discourses: an “ecocritical” discourse that narrates impasse in terms of representational failure; an “ecofascist” discourse that closes the gap between knowing and doing by vowing to defend Northern borders against rising seas and migrant tides; an “ecofugitive” discourse that holds out the possibility of escape from the dangers of the present; and an “ecosocialist” discourse that resolves impasse by imagining decommodified forms of “social reproduction” that decouple life from fossil fuels. I find, first, that the material and epistemological dimensions of impasse arise from the ownership structure of “fossil capitalism” in the neoliberal period, which not only yokes the reproduction of waged/salaried life to the combustion of fossil fuels, but also profoundly shapes how climate change passes into the cultural imagination. I observe, second, that climate impasse calls into question the political imaginary of U.S. liberalism, which understands social progress to be driven by cycles of revelation and reform. Finally, I conclude that the imagination has a crucial role to play in moving beyond impasse — not by making the effects of climate change more visible, immediate, or dramatic, but by illuminating concrete strategies for abolishing the political economic structures that give rise to impasse in the first place.

"Corporeal Resurfacings: Faustin Linyekula, Nick Cave and Thornton Dial," examines art and performance works by three contemporary black artists. My dissertation is opened by the analytic of black female flesh provided by Hortense Spillers in her monumental essay, "Mama's Baby, Papa's Maybe: An American Grammar Book." Drawing on Spillers, I argue that it is not the black female body but the material persistence and force of that body, expressed through the flesh, that needs to be theorized and resituated directly with respect to current discourses that take up black ontology, black subjectivity and black aesthetics. I expand Spillers' conclusions to an analysis of how the materiality of this flesh continues to structure, organize and inflect contemporary aesthetic interventions and performances of blackness in the present. The five chapters that comprise the dissertation map a specific set of problems that emerge from a tangled web of gender, race and performance. I argue that black female flesh, forged through desire and violence, objection and subjectivity, becomes the ground for and the space through which black masculinity is fashioned and articulated as open, variable, and contested within artistic practices.

Examining the work of these artists, I identify a set of practices that channel this neglected black flesh as a site of aesthetic reclamation and recovery. Focusing on the art of collage and assemblage and its techniques of cutting, pasting, quoting and tearing I demonstrate how black identity is always assembled identity. Moreover, I demonstrate how artistic assemblage makes visible the dense and immeasurable compressions of race, gender and sexuality that have accumulated over time. I argue that these practices offer us unique opportunities to inhabit this flesh. The dissertation expands upon connections between visibility, solidarity, materiality and femininity, bringing them to light for a critical discussion of the unique expressions and co-productions of blackness and sexuality in the fields of visual art and performance. I draw upon thinkers who help me think about the material status of black female flesh and its reproductive value. The project aligns itself with current black scholarly work that treats not simply black subjectivity but blackness itself as central to an understanding of a history of devaluation that subtends the historical construction of modern subjectivity. I theorize how the degraded materiality of blackness, linked to the violent rupturing of black flesh, indexes a deeper history of devaluation that becomes the very condition for and means of qualifying and substantiating our definitions of subjectivity and personhood. I conclude by tracing an aesthetic community or aesthetic sociality grounded in the recovered, lost materiality of Spillers' ungendered black female flesh, a community that I argue, may be glimpsed through particular instantiations of the flesh in art and performance.

Digitization of library collections has made millions of books, newspapers, and academic journal articles accessible. These resources present an opportunity for historians interested in identifying patterns in cultural production that emerge over the space of decades or even centuries. For example, considerable interest has been expressed in studying the emergence, decline, and transmission across national and linguistic boundaries of literary form in the tens of thousands of novels published in Europe in the eighteenth and nineteenth centuries. Navigating such a large collection of texts, however, requires the use of quantitative methods rarely used in literary studies; the single, direct reading of even a thousand texts exceeds the time and resources available to most historians.

This dissertation demonstrates the application of probabilistic model of texts in the study of literary history. The major finding of the dissertation is that regularities previously identified by literary historians can be captured by probabilistic models. Following the first chapter, "How to Read 22,198 Journal Articles: Studying the History of German Studies Using Topic Models," which introduces representations of texts used in the dissertation, chapter 3, "Inferring Novelistic Genre in the English Novel, 1800-1836," and chapter 4, "Networks of Literary Production," illustrate the contribution probabilistic models of novelistic production are positioned to make to long-standing questions in literary history. Both chapters are concerned with the detection and description of empirical regularities in surviving nineteenth-century English novels, such as the recurrence of novelistic genres--e.g., gothic, silver fork, and national tale novels. Chapter 3 makes use of a corpus that includes a random sample of novels published in the British Isles between 1800 and 1836. The use of a random sample and of probabilistic methods, both uncommon in literary studies, serves to develop new conceptual resources for future work in literary history and the sociology of literature.