P2 - Foundations Eulogies of Appeals The Neurodegenerative Cognate (2024)

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From Daniel Defoe’s gender‐appropriating The Fortunes and Misfortunes of the Famous Moll Flanders in 1722, to Misha Defonseca’s entirely fictional Holocaust memoir, Misha: A Mémoire of the Holocaust Years (1997), false memoirs that exhibit the tendency to imitate the confessional mode, which typifies autobiographical acts, are neither new nor innovative. However, a re‐evaluation of false memoirs as falsified “literary testimony” (Rowland & Kilby, 2014: p. i) that considers the act of reading synonymous with the intersubjective act of testimonial witnessing (Laub, 1995: p. 61‐2) reveals a false memoir’s underlying affective value. This affective value denounces the fiction/non‐fiction dichotomy, which reflects the present climate of “reality‐based entertainment” (Rose & Wood, 2005: p. 284) whereby the intersubjective “authenticity negotiation process” (p. 294) finds that “[a]n authentic experience […] becomes one from which the viewer can draw any number of personally satisfying meanings” (p. 294). Consequently, the discussion that follows draws on affect studies, in a literary context, to expose and evaluate the affective value of contemporary false literary testimony.

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In what we read today, in what is written, the body is changing. After having undergone a kind of disappearance into code and of the symbolic, appearing there as a bare and featureless site for inscription with only a problematic ontological status, and then having been disarticulated without remainder into a nexus of discursive practices and performance, the body has re-emerged by way of multiple challenges to this regime. The insistent disruption of trauma, of an immemorial blow that pierces the fragile screen of symbolic coherence and insists on its priority precisely by its resistance to inscription, is one of these challenges. Within a growing corpus of texts issuing and challenging this challenge, Catherine Malabou’s work is especially important. Malabou draws neuroscience and trauma theory together and offers a what she calls a motor scheme that accounts for the emergence of the regime of writing, persuasively critiques it without thereby returning to a pre-structuralist metaphysics, and forms an interpretive tool for reconceptualizing liberatory practice. She calls this motor schema “plasticity.” In her recent work, however, Malabou challenges any simple appropriation of this motor scheme for liberatory practice. Here, “explosive plasticity,” rather than signifying the embrained body’s capacity to escape its given forms and set out on truly novel paths forged by joyful affects, becomes the “destructive plasticity” of trauma, an irreparable deformation that creates a new self indifferent to itself, bereft of affective valuation and so incapable of political decision, without a future, the living embodiment of the death drive. In fact, destructive plasticity may solidify biopolitical control through the proliferation of accidents that produce post-traumatic subjects as incapable of resistance as they are equipped to become the agents of violence. The body, if more fully emancipated in Malabou’s work from the regime of writing than in previous theoretical work on affect and trauma, finds itself trapped in its own vulnerable materiality. How to wrest free of this new prison, when the death drive is so fully embodied as to leave no way out? How to imagine liberatory practice within a regime that can wield plasticity against itself in a way that resists interpretation? How to write this impossible transition?

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P2 - Foundations Eulogies of Appeals The Neurodegenerative Cognate (2024)
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