Toward Affective Realism: Performing the Reverse Side of the Face

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F61989592%3A15210%2F22%3A73616297" target="_blank" >RIV/61989592:15210/22:73616297 - isvavai.cz</a>

Výsledek na webu

<a href="https://benjamins.com/catalog/chlel.xxxiii.13jir" target="_blank" >https://benjamins.com/catalog/chlel.xxxiii.13jir</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.1075/chlel.xxxiii.13jir" target="_blank" >10.1075/chlel.xxxiii.13jir</a>

Jazyk výsledku

angličtina

Název v původním jazyce

Toward Affective Realism: Performing the Reverse Side of the Face

Popis výsledku v původním jazyce

Proposing a concept of affective realism that shifts from representation of outer reality and inner states to the formal work of affects by which an experience of the real is structured, this essay examines both the historical and aesthetic experience of disfiguration from the second decade of the twentieth century. Based on the war experiences of the survivors of World War I who suffered extensive facial injuries, as rendered by the novel Au ciel de Verdun (1918) by Bernard Lafont and the war memoirs Hommes sans visage (1942) of the Swiss front nurse Henriette Rémi, while reading the faceless images in two modernist texts, The Notebooks of Malte Laurids Brigge (1910) by Rainer Maria Rilke and the short story “The Erased Face” (1919) by Richard Weiner, I argue that rather than simply represented the hardly thinkable disfiguration is affectively performed. Not only do the witness accounts from the battlefront and literary fiction share an emotional force of the traumatic images but they also enable affects of shock, disgust, and fascination to structure their discursive forms. Consequently, the aesthetic force of affective realism lies in literature’s capacity to trigger a potential experience while pushing the realist representation toward its limits.

Název v anglickém jazyce

Toward Affective Realism: Performing the Reverse Side of the Face

Popis výsledku anglicky

Proposing a concept of affective realism that shifts from representation of outer reality and inner states to the formal work of affects by which an experience of the real is structured, this essay examines both the historical and aesthetic experience of disfiguration from the second decade of the twentieth century. Based on the war experiences of the survivors of World War I who suffered extensive facial injuries, as rendered by the novel Au ciel de Verdun (1918) by Bernard Lafont and the war memoirs Hommes sans visage (1942) of the Swiss front nurse Henriette Rémi, while reading the faceless images in two modernist texts, The Notebooks of Malte Laurids Brigge (1910) by Rainer Maria Rilke and the short story “The Erased Face” (1919) by Richard Weiner, I argue that rather than simply represented the hardly thinkable disfiguration is affectively performed. Not only do the witness accounts from the battlefront and literary fiction share an emotional force of the traumatic images but they also enable affects of shock, disgust, and fascination to structure their discursive forms. Consequently, the aesthetic force of affective realism lies in literature’s capacity to trigger a potential experience while pushing the realist representation toward its limits.

Druh

C - Kapitola v odborné knize

CEP obor

—

OECD FORD obor

60204 - General literature studies

Projekt

—

Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2022

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název knihy nebo sborníku

Landscapes of Realism: Rethinking Literary Realism in Comparative Perspectives. Volume II: Pathways Through Realism

ISBN

978-90-272-1085-2

Počet stran výsledku

14

Strana od-do

337-350

Počet stran knihy

780

Název nakladatele

John Benjamins Publishing Company

Místo vydání

Amsterdam

Kód UT WoS kapitoly

—