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E-book The Insectile and the Deconstruction of the Non/Human

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Penilaian

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The scene of fasciation in the novel, as such, spreads beyond its most compelling and tragic evocation, illustrating Wildeve’s orientation towards Eustacia and vice versa. The subsection titled ‘Fascination’ begins with the ‘system’ of Clym’s face and figure, moving through a series of encounters and settings in which the phenomenon takes hold or effect. The metaphor of the moth and its attraction to light—the event of fascination par excellence—frequently exists latently, in a shared glance between Clym and Eustacia coded in terms of a ‘moonlit scene,’ occur-ring in broad daylight, ‘common to both’.4 Moths are primarily noctur-nal creatures travelling by the light of the moon, kept in a precise location in relation to their bodies. The mutual glance (Clym??Eustacia) takes place in a field of signification that draws on this behaviour, intimated in one body’s transverse orientation toward the other. In this instance, both bodies, held in the light and gaze of the other, are compelled toward one another, each of them at once moth and moon. The shared glance, the capture in the other’s gaze, constitutes the scene of fascination, in itself demonstrating how the process works to entrance, to lose one’s head and sense of time and place: in an instant, the world disappears.The nodes of the current project become apparent in The Return of the Native in its constellation of insects (specifically moths), fascination and subjectivity. This constellation has multiple expressions and patterns in and outside the novel, like the conditions of light or of the gaze arresting the subject, caught in a behavioural convergence with moths. The aim of this book is to demonstrate the foundational but occluded role of the insectile in subject formation; to do so, it brings together and evaluates a library of writings on, or renditions of, the insectile in relation to the production of subjectivity. The insectile is that which prompts a rethink-ing of the so-called human subject’s enunciation, figured and unfigured through the phenomenon of fascination. Before, however, mapping this realm of fascination—the main thinkers on this matter are Jacques Lacan and Maurice Blanchot—I want to lay out the other central relation that organises what is to come, all the while keeping the state of fascination in mind, but some way off, at the edges of awareness. One reason for this decentring is to be found in the phenomenon of fascination itself, which leads the I elsewhere, into a dimension where ‘all subjective subsistence seems to get lost, to be absorbed, and to leave the world behind’.5 Another motive for circumventing it here has to do with its consequences for the ego, which is at once formed and deformed by being fascinated: fascina-tion brings the subject into existence at the same time that it is moved outside or beyond itself. The evocation of both form and formlessness pertains to the scene of fascination and, as such, to the constitution of the so-called human subject; this conceptual frame (form; formlessness; fas-cination) is what drives this investigation. Form and formlessness are interlinked, as are fascination and insects, creatures that fascinate, as if they were manifestations of the gaze itself. In Flights (2018), Olga Tokarczuk writes that an enormous black beetle, whose ‘flawless cara-pace’ reflects the sky, functions as an ‘odd eye on the ground, not belong-ing to any body, detached and disinterested.

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Ketersediaan

Informasi Detail

Judul Seri

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No. Panggil

190 COL t

Penerbit

New York : Taylor & Francis., 2023

Deskripsi Fisik

209 hlm

Bahasa

English

ISBN/ISSN

9781032345505

Klasifikasi

190

Tipe Isi

text

Tipe Media

computer

Tipe Pembawa

online resource

Edisi

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Subjek

Modern Western Philosophy

Info Detail Spesifik

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Pernyataan Tanggungjawab

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Versi lain/terkait

Lampiran Berkas

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