{"id":2019,"date":"2023-03-08T15:53:52","date_gmt":"2023-03-08T22:53:52","guid":{"rendered":"http:\/\/www.fantastic-arts.org\/jfa\/?page_id=2019"},"modified":"2023-03-13T22:12:14","modified_gmt":"2023-03-14T04:12:14","slug":"jfa-33-2","status":"publish","type":"page","link":"https:\/\/www.fantastic-arts.org\/jfa\/current-issue\/jfa-33-2\/","title":{"rendered":"JFA 33.2"},"content":{"rendered":"\n

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JFA 33.2<\/strong> – Table of Contents<\/p>The JFA thanks the volunteers working under the former editorial administration for their work collecting, reviewing and building the content of this issue. <\/strong><\/strong><\/cite><\/blockquote><\/figure>\n\n\n\n

Cybernetics and Ancillary Justice<\/em>: Embodiment, Crisis, and Resistance<\/p>\n\n\n\n

Robert Nguyen<\/em><\/p>\n\n\n\n

Wronging Wrongs: The Haunting Transmotion of the Enchanted Gothic in John Keats\u2019s Lamia<\/em><\/p>\n\n\n\n

Hogan D. Schaak<\/em><\/p>\n\n\n\n

Transmissions from a Friend: Worlding and Unworlding Central Europe with Ursula K. Le Guin<\/p>\n\n\n\n

Eliza Rose<\/em><\/p>\n\n\n\n

Turning the Hinge: \u201cRadical Fantasy,\u201d Magic, and Eco-phenomenology in N. K. Jemisin\u2019s The Fifth Season<\/em> and Laurie Marks\u2019s Fire Logic<\/em><\/p>\n\n\n\n

Julia DaSilva<\/em><\/p>\n\n\n\n

REVIEWS<\/strong><\/p>\n\n\n\n

Jimmy Packham\u2019s Gothic Utterance: Voice, Speech and Death in the American Gothic<\/em><\/p>\n\n\n\n

Rev. by <\/em>Antonio Alcala Gonzalez<\/em><\/em><\/p>\n\n\n\n

Jeffrey Andrew Weinstock and Regina M. Hansen\u2019s Giving the Devil His Due: Satan and Cinema<\/em><\/p>\n\n\n\n

Rev. by Erin Giannini<\/em><\/p>\n\n\n\n

Franz J. Potter\u2019s Gothic Chapbooks, Bluebooks and Shilling Shockers, 1797\u20141830<\/p>\n\n\n\n

Rev. by Wesley Scott McMasters<\/em><\/p>\n\n\n\n

James Craig Holte\u2019s Imagining the End: The Apocalypse in American Popular Culture<\/em><\/p>\n\n\n\n

Rev. by <\/em>Aris Mousoutzanis<\/em><\/p>\n\n\n\n

Matthew Schneider-Mayerson and Brent Ryan Bellamy\u2019s An Ecotopian Lexicon<\/em><\/p>\n\n\n\n

Rev. by Israel A. C. Noletto<\/em><\/em><\/p>\n\n\n\n

Michelle J. Smith and Kristine Moruzi\u2019s Young Adult Gothic Fiction<\/em><\/p>\n\n\n\n

Rev. by Julia Round<\/em><\/em><\/p>\n\n\n\n

Abstracts<\/strong><\/p><\/blockquote><\/figure>\n\n\n\n

Robert Nguyen<\/p>\n\n\n\n

Cybernetics and Ancillary Justice<\/em>: Embodiment, Crisis, and Resistance<\/strong><\/p>\n\n\n\n

Ann Leckie\u2019s space opera Ancillary Justice<\/em> represents the cybernetic logics of modern life as a galactic empire of always-connected starships, artificial intelligences, and soldiers. In doing so, Leckie\u2019s novel transforms cybernetics from its current state\u2014a seemingly immaterial, dominant set of logics described by Seb Franklin, building on Deleuze and Foucault, as a \u201ccontrol episteme\u201d\u2014into corporeal form. This materialization occurs through that lyrical mimesis that Seo-Young Chu describes as characteristic of science fiction, a genre that is a \u201cmimetic discourse whose objects of representation are nonimaginary yet cognitively estranging.\u201d<\/p>\n\n\n\n

This act of representation exposes the vulnerabilities of cybernetic systems as inevitably, ultimately embodied, and reminds us of cybernetic logics\u2019 origins in military technologies. I argue that Leckie\u2019s novel opens a path for how these systems might be resisted: by individuals exercising ethical action and performing acts of care in the face of world-ending crises.<\/p>\n\n\n\n

Nguyen, Robert. \u201cCybernetics and Ancillary Justice: Embodiment, Crisis, and Resistance.\u201d Journal of the Fantastic in the Arts<\/em>, vol. 33, no. 2, 2022, pp. 10\u201332.<\/p>\n\n\n\n

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Hogan D. Schaak<\/p>\n\n\n\n

Wronging Wrongs: The Haunting Transmotion of the Enchanted Gothic in John Keats\u2019s Lamia<\/em><\/strong><\/p>\n\n\n\n

In this article, I argue that Gerald Vizenor\u2019s theory of \u201ctransmotion\u201d and C. Ree and Eve Tuck\u2019s theory of haunting in western narratives help us understand why John Keats thought Lamia to be his best gothic poem. Scholars have traditionally thought Lamia to be one of Keats\u2019s worst poems, chafing at its ambiguity. However, by piecing together Keats\u2019s uses of the gothic over his career and then examining Lamia\u2019s narrative structure and colorful visual imagery through the lens of transmotion and Ree and Tuck\u2019s theory of haunting, I argue that Lamia foregrounds traditionally western expectations of narrative satisfaction and then frustrates them in order to haunt the reader through what I call the \u201cenchanted gothic.\u201d In this way, Lamia can transform the ways in which western readers interpret monsters and patriarchal societal structures. This article joins an ongoing project of interpreting art by way of Vizenor\u2019s ideas and adds new considerations on the role of the gothic and the application of transmotion.<\/p>\n\n\n\n

Schaak, Hogan. \u201cWronging Wrongs: The Haunting Transmotion of the Enchanted Gothic in John Keats\u2019s Lamia.\u201d Journal of the Fantastic in the Arts<\/em>, vol. 33, no. 2, 2022, pp. 33\u201361.<\/p>\n\n\n\n

\n\n\n\n

Eliza Rose<\/p>\n\n\n\n

Transmissions from a Friend: Worlding and Unworlding Central Europe with Ursula K. LeGuin<\/strong><\/p>\n\n\n\n

In her youth, Ursula K. Le Guin set her first novel manuscript in an \u201cunimportant country of middle Europe\u201d called Orsinia. This invented country became a near-constant in her career, providing the setting of two novel manuscripts, thirteen stories, and three poems written over four decades. To correct scholarship\u2019s neglect of the Orsinian corpus, this article offers two possible explanations for Le Guin\u2019s sustained use of Central Europe as setting. The first pertains to her curiosity about the challenges of real socialism in Eastern Europe, and the second to her evolving perception of cultural difference as narrative fodder. Through their work as anthropologists and authors, her parents (Alfred and Theodora Kroeber) gave her a model for retelling others\u2019 stories that Le Guin later contested and revised. Drawing from postcolonial critiques of \u201cworlding\u201d as a literary operation with real consequences, the article explores ethnology and fiction as relatedly fraught ways of knowing the Other. The Orsinian fiction, however, can ultimately be read as a reparative project within which Le Guin developed fair protocols for transmitting others\u2019 stories.<\/p>\n\n\n\n

Rose, Eliza. \u201cTransmissions from a Friend: Worlding and Unworlding Central Europe with Ursula K. LeGuin.\u201d Journal of the Fantastic in the Arts<\/em>, vol. 33, no. 2, 2022, pp. 62\u201394.<\/p>\n\n\n\n

\n\n\n\n

Julia DaSilva<\/p>\n\n\n\n

Turning the Hinge: \u201cRadical Fantasy,\u201d Magic, and Eco-phenomenology in N. K. Jemisin\u2019s The Fifth Season<\/em> and Laurie Marks\u2019s Fire Logic<\/em><\/strong><\/p>\n\n\n\n

Fredric Jameson argues that a core element of \u201cradical fantasy\u201d is the use of magic as a figure for the extension to the limit of human creative powers and the ways in which historical conditions bear on those powers.  Jameson\u2019s framework is here extended through a comparative phenomenological analysis of magical practice in N. K. Jemisin\u2019s Fifth Season<\/em> and Laurie Marks\u2019 Fire Logic,<\/em> both centered around \u201chinge\u201d moments of existential political crisis, where the extension of human creative powers is violently called into question.  Both navigate this violence through elemental magic systems, employing similar central metaphors useful in conjunction with Jameson\u2019s problem of history: Jemisin\u2019s \u201cFulcrum\u201d and Marks\u2019 \u201chinge\u201d (of history).<\/em>  Irene Klaver\u2019s \u201cPhenomenology on (the) Rocks\u201d helps locate Jameson\u2019s framework within an eco-phenomenological one, illuminating how magical practice functions in radical texts as \u201cturning the hinge:\u201d opening spaces of radical indeterminacy and mutuality that use obscurities against established power.<\/p>\n\n\n\n

DaSilva, Julia. \u201cTurning the Hinge: \u2018Radical Fantasy,\u2019 Magic, and Eco-Phenomenology in N. K. Jemisin\u2019s The Fifth Season and Laurie Marks\u2019s Fire Logic.\u201d Journal of the Fantastic in the Arts<\/em>, vol. 33, no. 2, 2022, pp. 95\u2013127.<\/p>\n","protected":false},"excerpt":{"rendered":"

JFA 33.2 – Table of Contents The JFA thanks the volunteers working under the former editorial administration for their work collecting, reviewing and building the content of this issue. Cybernetics and Ancillary Justice: Embodiment, Crisis, and Resistance Robert Nguyen Wronging Wrongs: The Haunting Transmotion of the Enchanted Gothic in John Keats\u2019s Lamia Hogan D. Schaak […]<\/p>\n","protected":false},"author":6,"featured_media":0,"parent":633,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2019","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.fantastic-arts.org\/jfa\/wp-json\/wp\/v2\/pages\/2019","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.fantastic-arts.org\/jfa\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fantastic-arts.org\/jfa\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fantastic-arts.org\/jfa\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fantastic-arts.org\/jfa\/wp-json\/wp\/v2\/comments?post=2019"}],"version-history":[{"count":5,"href":"https:\/\/www.fantastic-arts.org\/jfa\/wp-json\/wp\/v2\/pages\/2019\/revisions"}],"predecessor-version":[{"id":2097,"href":"https:\/\/www.fantastic-arts.org\/jfa\/wp-json\/wp\/v2\/pages\/2019\/revisions\/2097"}],"up":[{"embeddable":true,"href":"https:\/\/www.fantastic-arts.org\/jfa\/wp-json\/wp\/v2\/pages\/633"}],"wp:attachment":[{"href":"https:\/\/www.fantastic-arts.org\/jfa\/wp-json\/wp\/v2\/media?parent=2019"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}