Perpetrator Fictions and Transcultural Memory
2011; Taylor & Francis; Volume: 17; Issue: 4 Linguagem: Inglês
10.1080/13534645.2011.605582
ISSN1460-700X
Autores Tópico(s)Jewish and Middle Eastern Studies
ResumoClick to increase image sizeClick to decrease image size Notes 1 Giorgio Agamben argued that the executive (presidential order) issued on 13 November 2001, which authorized indefinite detention and trial by military commission (not tribunal) of noncitizens involved in terrorist activities, constituted a state of exception. This order went further than the Patriot Act (26 October 2001) which allowed seven days' detention of suspicious ‘aliens’. The order produced ‘detainees’ (from captured Taliban in Afghanistan) not subject to American law or the Geneva Convention for POWs. With neither legal identity nor personhood such detainees were nationally and internationally unrecognizable or illegible. Giorgio Agamben, State of Exception, trans. Kevin Attell (Chicago and London: University of Chicago Press, 2005), pp.3–4. For an extended discussion of ‘bare life’, see Giorgio Agamben, Homo Sacer: Sovereign Power and Bare Life, trans. Daniel Heller-Roazen (Stanford: Stanford University Press, 1998). 2 Orlando Patterson, Slavery and Social Death: A Comparative Study (Cambridge, MA. and London: Harvard University Press, 1982), pp.5–14 and 35–76. Judith Butler makes passing use of Patterson's phrasing of nineteenth century slavery to describe life not framed as grievable in post-9/11 conflict. See Judith Butler, Frames of War: When is Life Grievable (London: Verso, 2009), p.44. 3 Marianne Hirsch, ‘Nazi Photographs in Post-Holocaust Art: Gender as an Idiom of Memorialization’, in Phototextualities: Intersections of Photography and Narrative, eds, Alex Hughes and Andrea Noble (Albuquerque: University of New Mexico Press), pp.19–40; Dominick LaCapra History in Transit: Experience, Identity, Critical Theory (Ithaca: Cornell University Press, 2004), pp.106–143. 4 Susannah Radstone, ‘Social Bonds and Psychical Order: Testimonies’, Cultural Values, 5.1 (2001), p.61. 5 Amy Hungerford, ‘Memorizing Memory’, The Yale Journal of Criticism, 14.1 (2001), pp.78–83; and The Holocaust of Texts: Genocide, Literature, and Personification (London and Chicago: University of Chicago Press, 2003). 6 Ruth Leys, Trauma: A Genealogy (Chicago: University of Chicago Press, 2000), pp.269–297; Shoshana Felman, ‘Education and Crisis, or the Vicissitudes of Teaching’, ‘After the Apocalypse: Paul de Man and the Fall to Silence’, ‘The Return of the Voice: Claude Lanzmann's Shoah’, in Testimony: Crises of Witnessing in Literature, Psychoanalysis, and History, eds, Shoshana Felman and Dori Laub (London and New York: Routledge, 1992), pp.1–56, pp.120–64, pp.204–83; Cathy Caruth, ‘Trauma and Experience: Introduction’, Trauma: Explorations in Memory (Baltimore: Johns Hopkins University Press, 1995), pp.3–12; Cathy Caruth, Unclaimed Experience: Trauma, Narrative, and History (Baltimore: Johns Hopkins University Press, 1996). 7 Dominick LaCapra History in Transit, pp.115–27; Dominick LaCapra, Writing History, Writing Trauma (Baltimore: Johns Hopkins University Press, 2001), pp.23–4, 27–8, 30, 35, 37, 41, 46, 48, 59, 64–5, 77. 8 Primo Levi, The Drowned and the Saved, trans. Raymond Rosenthal (London: Abacus, 1988). 9 Gillian Rose, Mourning Becomes the Law (Cambridge: Cambridge University Press, 1996), pp.41, 43, 46. 10 Maria Torgovnick, The War Complex: World War II in Our Time (Chicago and London: University of Chicago Press, 2005), pp.68–9. 11 Dean Franco, ‘What we talk about when we talk about Beloved’, Modern Fiction Studies, 52:2 (2006), pp.417–29. 12 Edward P. Jones, The Known World (London: Harper Perennial, 2004), pp. 166–74. 13 For example, Don DeLillo, Falling Man (New York: Scribner, 2007); John Updike, Terrorist (New York: Knopf, 2006); Jess Walter, The Zero (New York: Regan, Harper Collins, 2006). 14 Jonathan Safran Foer, Extremely Loud and Incredibly Close (London: Penguin, 2006), pp.187–9 and 208–16. 15 Laura Frost, ‘Still Life: 9/11’s Falling Bodies', in Literature after 9/11, eds, Ann Keniston and Jeanne Follansbee Quinn (London and New York: Routledge, 2008), p.186; for a discussion of post-9/11 trauma and temporality in Foer's work, see Mitchum Huehls, ‘Foer, Spiegelman, and 9/11’s Timely Trauma's, in Literature after 9/11, eds, Ann Keniston and Jeanne Follansbee Quinn (London and New York: Routledge, 2008), pp.42–59. 16 Jenny Edkins, ‘Ground Zero: Reflections on Trauma, In/distinction and Response’, Journal for Cultural Research, 8:3 (2004), pp.247–70. See also Mark Wigley, ‘Insecurity by Design’, in After the World Trade Center: Rethinking New York City, eds, Michael Sorkin and Sharon Zukin (London and New York: Routledge, 2002), pp.71–3, 75–6, 80–1, 82–4; Eric Darton, ‘The Janus Face of Architectural Terrorism: Minoru Yamasaki, Mohammed Atta, and Our World Trade Centre’, in After the World Trade Centre, pp.88–9, 90–1. 17 Jean Baudrillard, ‘L'Esprit du Terrorisme’, in South Atlantic Quarterly: Dissent from the Homeland, eds, Stanley Hauerwas and Frank Lentricchia, 101:2 (2002), pp. 407, 405, 405–6, 409, 409–14. 18 W. J.T. Mitchell, Cloning Terror: The War of Images, 9/11 to the Present (Chicago and London: University of Chicago Press, 2011), pp.xi-xix. 19 David Simpson, 9/11: The Culture of Commemoration, (Chicago and London: University of Chicago Press, 2006), pp.8–11. 20 Valerie Martin, Property (London: Abacus, 2009), pp.3–5. 21 Susan V. Donaldson, ‘Telling Forgotten Stories of Slavery in the Postmodern South’, The Southern Literary Journal, 40:2 (2008), p.279. 22 Valerie Martin, Property, pp. 109, 137–8, 166, 170, 205, 207–9. 23 Susan V. Donaldson, ‘Telling Forgotten Stories of Slavery in the Postmodern South’, p.273. 24 Valerie Martin, Property, pp.82–3. 25 Valerie Martin, Property, p.74. 26 Susan V. Donaldson, ‘Telling Forgotten Stories of Slavery in the Postmodern South’, p.279. 27 For a discussion of intimacy and subjection in slave narratives, see Christina Sharpe, Monstrous Intimacies: Making Post-Slavery Subjects (Durham and London: Duke University Press, 2010), pp.13–26. 28 For a similar reading of this scene, see Susan V. Donaldson, ‘Telling Forgotten Stories of Slavery in the Postmodern South’, pp.274–5. 29 Judith Butler, Frames of War, pp.1, 4–5, 7–10, 12–15, 23 29, 45, 51, 72–5, 78–80, 95–5. 30 Toni Morrison, A Mercy (London: Vintage, 2009), pp.8–11, 25–26, 20, 30 31 Toni Morrison, A Mercy, pp.141–2. 32 Donald E. Pease, The New American Exceptionalism (Minnesota and London: University of Minneapolis Press, 2009), pp.155, 157–8, 160–1, 168–9, 170–1, 173–5, 178, 183. Adriana Caverero has noted, for example, that the postures of the tortured and torturers, the enforced tableaux of torture, are quotations from an archive of the history of torture, or more precisely of iconic images (from Nazi Germany and the Ku Klux Klan's regimes of terror in the American South) that have been spectacularly disseminated. To quote Caverero: ‘What stands out in them is a spectral caricature of torture reduced to the level of filthy farce. Phantasmic copies… [in which] the Abu Ghraib tormenters and their victims appear as spectres’. In the case of Abu Ghraib, power only reveals itself in terms of caricature, or bad theatre. For Caverero, the unmasking of the illegality of torture is secondary to this structural revelation: that torture is spectral, fictitious, and that miming torture before the camera masks torture off-set. The global reach of the images from Abu Ghraib, the excessive visuality of the event, became the perfect means by which power represented itself to itself. Adriana Caverero, Horrorism: Naming Contemporary Violence, trans. William McCuaig (New York: Columbia University Press, 2009), p.111. 33 On the frame's subsumption of power in the case of the Abu Ghraib photographs, see Judith Butler, Frames of War, pp.72–5, 78, 94–5; on overcoming the frames that we ratify, see pp.99–100; on the ethical act, see p.180. Dora Apel has argued something similar in her examination of the twenty-first-century legacy of lynching in American culture. The exhibition of the photographic images, taken between 1880 and 1960, of lynching, and the publication of those images, between 2000–2002 has informed a new-found sensitivity to racist violence in the present that bears the hallmarks of lynching (the significance of which is often ignored by police authorities). The dissemination of these images has also been a spur to the historical consciences of white audiences in prompting them to think through their relationship with their counterparts: photographed enthusiastic, voyeuristic white onlookers and perpetrators. However, in a post-9/11 cultural environment in which the signifier of ‘terrorism’ has come to describe and define a range of violent acts, the location of terror in past and present acts of lynching has often lent unqualified support to the fight against terror abroad in terms of American foreign policy in Afghanistan and Iraq. In other words, the identification of social death on American soil does not necessarily encourage moral conduct in theatre of war. See Dora Apel, ‘On Looking: Lynching Photographs and Legacies of Lynching after 9/11’, American Quarterly, 55:3 (2003), pp.457–478. 34 Michael Rothberg, Multidirectional Memory: Remembering the Holocaust in the Age of Decolonisation (Stanford: Stanford University Press, 2009), pp.12–16.
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