The moment we live in is a moment of multiple crisis – environmental, political, economic, and viral – a moment, that is, where the reality of damage, fallibility and faultiness, and the ensuing fear, anxiety, rage, trauma, protest, and mobilisation have reached a critical point. Past and present narratives of crisis and trauma can help navigate this process. In this article we have chosen to focus on Italo Svevo’s Zeno’s Conscience (1923) and Hideo Kojima’s videogame Death Stranding (2019) for several (...) reasons. The most important of all are Svevo’s and Kojima’s choices to deal with the trauma of crisis by emphasising and investigating the process leading to crisis, and of focusing on the zone in-between the ‘normal’ and the unknown. In so doing both narratives underscore the significance of ruins, desolation and the broken as a backdrop for rediscovering everyday life and forging meaningful connections in a fragmented world. (shrink)

Towards the end of The Coming Community (1993) [La comunità che viene, 1990], Giorgio Agamben writes something that may be interpreted as a paraphrase of Franz Kafka's famous statement that while t...

Meaningful places -- Fictional objects -- Migrant objects -- Multicultural and transcultural objects -- Objects as props -- Conclusion.

In the essay “Das Wort” (“Words”), Martin Heidegger wrote about “renunciation” (verzicht) in the context of the poetry of Stefan George. According toHeidegger the entrance into the possibility of Saying, with the capital “S” – as opposed to the chatter of every-day life – could be achieved in the instance of the poet’s deliberate acceptance of renunciation. Heidegger’s writings, including “Words,” have had an enormous influence in the second part of the 20th century on authors and thinkers alike. And yet (...) this influence may have had a pernicious effect, at least in the opinion of some commentators. In the 2005 book L’adieu à la littérature, William Marx, for instance, claimed that the 20th century is the time of a literature sans style. If on the one hand literature achieved its autonomy, on the other it farewelled the cognitive purpose with regard to the world, which, some could argue, equates with a retreat from its civilizing purpose. This essay does two things: first it illustrates and contextualizes the notion of “renunciation” from philosophical as well as literary and cultural perspectives: second it discusses a set of authors who have experienced the category of “renunciation” in different ways and with different outcomes. I refer to Maurice Blanchot, Frances Ponge and Édouard Glissant. (shrink)