Fight Club and the World Trade Center: On Metaphor, Scale, and the Spatio-temporal (Dis)location of Violence.
In this essay we examine the metaphorical rendition of the terrorist attacks on New York and Washington, which took place on 11 September 2001, as attacks on "civilization." Our principal aim is to understand how it has proven to be as affective as it seems to have been thus far. We do so by turning...
| Publicado en: | Journal for Cultural Research Vol. 7; no. 2; pp. 195 - 219 |
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| Autores principales: | , |
| Formato: | Artículo |
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Taylor & Francis Ltd
Apr2003
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=10498281&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 10498281 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 14797585 QMJ jtl: Journal for Cultural Research issn: 14797585 maglogo: Y pubinfo: dt: Apr2003 vid: 7 iid: 2 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 10498281 10.1080/14797580305359 ppf: 195 ppct: 24 formats: fmt: @attributes: type: P size: 3MB tig: atl: Fight Club and the World Trade Center: On Metaphor, Scale, and the Spatio-temporal (Dis)location of Violence. aug: au: Palladino, P. Young, T. affil: Department of History, Lancaster University Edinburgh Youth Social Inclusion Partnership su: Terrorism Spacetime Metaphor United States sug: subj: United States Terrorism Spacetime Metaphor ab: In this essay we examine the metaphorical rendition of the terrorist attacks on New York and Washington, which took place on 11 September 2001, as attacks on "civilization." Our principal aim is to understand how it has proven to be as affective as it seems to have been thus far. We do so by turning to film, a medium that is quintessentially metaphorical and whose own affective power rests on the reconfiguration of time and space. More specifically, we do so by turning to David Fincher's Fight Club (1999). In contrast to the textual approach offered by Slavoj Žižek (2002), we explore how the formal play of different temporal and spatial scales, which would articulate a trenchant critique of alienation, in fact reproduces an understanding of the subject that is deeply complicit with capital. The play of time and space, on which the affective power of the film rests, articulates a rejection of the fundamentally schizophrenic nature of the subject of capital. Our claim is that this exploration of time, space, and political critique illuminates how the elisions of the historical and geo-political that characterize the metaphorical rendition of the attacks on New York and Washington might easily be overlooked. This essay also advances our more general understanding of both the articulation of time and space within the dominant form of metaphorical representation and how this enacts and consolidates a particular politics. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Journal for Cultural Research is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Journal for Cultural Research holder: Taylor & Francis Ltd dt: @attributes: year: 2003 holdings: @attributes: islocal: N |
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