Violent Affect: Literature, Cinema, and Critique after Representation PDF
Preview Violent Affect: Literature, Cinema, and Critique after Representation
Violent Aff ect LUinnciovlenr saintyd oLfo Nndebornaska Press Chapter is based on the author’s critical essay “Judgment Is Not an Exit: Toward an Aff ective Criticism of Violence with American Psycho,” which appeared in Angelaki . (): –. A Taylor & Francis publication, http://www.tandf.co.uk/journals. Chapter is based on the author’s critical essay “Don DeLillo’s ‘In the Ruins of the Future’: Literature, Images, and the Rhetoric of Seeing /,” which ap- peared in pmla . (): –. © by the Board of Regents of the University of Nebraska All rights reserved Manufactured in the United States of America Library of Congress Cataloging-in-Publication Data Abel, Marco. Violent aff ect : literature, cinema, and critique after representation / Marco Abel. p. cm. Includes bibliographical references (p. ) and index. isbn-: ---- (alk. cloth) isbn-: ---x (alk. cloth) . American fi ction—th century—History and criticism. . Violence in literature. . Violence in motion pictures. I.Title. ps.va '.—dc Set in Chaparral Pro by Bob Reitz. Designed by Ashley Johnston. For Magda and Richard Abel In memory of Magda Löhr (–) Preface ix Acknowledgments xvii . Th e Violence of Sensation Miller’s Crossing, Aff ect, and Masocriticism . Judgment Is Not an Exit Representation, Aff ect, and American Psycho . Are We All Arnoldians? A Conceptual Genealogy of Judgment . Serializing Violence Patricia Highsmith’s “Empirical” Pedagogy of Violence . Becoming-Violent, Becoming-DeNiro Rendering Violence Visible on Screen . Don DeLillo’s “In the Ruins of the Future” Violence, Pedagogy, and the Rhetoric of Seeing / Notes Bibliography Index ix Th e violence of sensation is opposed to the violence of the repre- sented (the sensational, the cliché). Th e former is inseparable from its direct action on the nervous system, the levels through which it passes, the domains it traverses: being itself a Figure, it must have nothing of the nature of the represented object. [Violence] is not what one believes it to be, and depends less and less on what is represented. —Gilles Deleuze, Francis Bacon I can’t help but dream about a kind of criticism that would not try to judge. —Michel Foucault, “Th e Masked Philosopher” Any project that lays claim to the attribute of novelty, let alone “radical” novelty, deserves to be received with immediate sus- picion. More often than not, such works turn out to be merely minor (albeit at times important) modifi cations of familiar argu- ments (how many more “radical” social constructivist arguments does one have to endure?). Despite my awareness of the danger inherent to what is at least in part a marketing trap—the seduc- tive force of novelty, however superfi cial, has long functioned as the sales engine of capitalism—I nonetheless proceed by submit- ting that the following study has indeed something new to of- fer with regard to its chosen subject matter, images of violence
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