Chicken Theory: an exquisite conversation.

At various points in our conjoined Benjaminian journey, the figure of the chicken has played a part in helping us understand the convoluted nature of history when wrenched free from homogenous time and viewed via the alternate temporality of the jetztzeit and its illuminating dialectical image. For...

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Published in:New Writing: The International Journal for the Practice & Theory of Creative Writing Vol. 16; no. 4; pp. 415 - 422
Main Authors: DeMott, Sarah, Tata, Michael Angelo
Format: Article
Published: Taylor & Francis Ltd Nov2019
Subjects:
Online Access:View this record in EBSCOhost
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          DeMott, Sarah
          Tata, Michael Angelo
        affil:
          New York University, New York, NY, USA
          Independent Scholar, Citizen of the World
      su:
        Chickens
        Philosophy of time
        Dialectic
        Deception
        Invocation
      sug:
        subj:
          Chickens
          Philosophy of time
          Dialectic
          Deception
          Invocation
      keyword:
        feuilletonist
        flâneur
        indolence
        Jetztzeit
        Leopardi
        Seine
      ab: At various points in our conjoined Benjaminian journey, the figure of the chicken has played a part in helping us understand the convoluted nature of history when wrenched free from homogenous time and viewed via the alternate temporality of the jetztzeit and its illuminating dialectical image. For De Mott, the chicken functioned narratively as the gateway into discussing stories lost due to changing emigration patterns, while for Tata the chicken became a stand-in for that Turkish automaton whose clever game animates both historical deception and the history of deception. That the chicken occupied such a central place in understanding Benjamin's various texts seemed to be no accident, making it imperative that we title our sympoetic contribution to this project Chicken Theory as we combine our cackles into a deeper exposition of The Arcades Project itself, in particular m: Idleness, the one Convolute we both chose, and l: The Seine, the Oldest Paris (De Mott's choice) and B: Fashion (Tata's choice). To accomplish this lurid invocation of idleness, fashion and the Seine, we have used that delirious game the Surrealists called an Exquisite Corpse, only designed for two and creating what for the Moderns was a Conversation Poem.
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