Pathology or intervention? – Deleuze’s masochism and its relation to parody

In his 1967 work, Presentation of Sacher-Masoch – Coldness and Cruelty (2007), Gilles Deleuze famously distinguishes the symptomatologies commonly designated by the names Masochism and Sadism, arguing that despite their shared feature of algolagnia, they are more rigorously approached as two very distinct regimes, having nothing to do with the ‘economy’ of the other. In the work’s preface, Deleuze also notes about Sacher-Masoch himself: ‘His whole oeuvre remains influenced by the problem of minorities, of nationalities and of revolutionary movements’ (2007: 9). Deleuze identifies that, within Masoch’s oeuvre, the masochist is he (normally a ‘he’) who insists on the contract. This insistence is neither to honour any particular contract or contracting per se, nor to safeguard himself within it, but to perform, through parodying it to its letter and pushing its operation towards its own limit, the inherent injustice that is its inexorable outcome. This article seeks to explore, using Masochistic ‘humouring’ or mockery of the contract as example, what might constitute a practice of intervention in regimes of power, and in which instances these iterations serve instead only as gestures of complicity with the injustices of the established logics. The article seeks to clarify, at the level of mechanism, a region of parody’s slippery operation, one which would determine the criteria for it to be intervention, as opposed to functioning as compliance and ‘bare repetition’ or ‘repetition of the Same’ (see Deleuze 2004: 27).

A cloud of smug over outdoor education : South Park, hybrid cars and environmental morality

In an episode of South Park titled ‘Hey, People, You’ve Gotta Drive Hybrids Already’, Stan convinces townsfolk to buy hybrid cars. This reduces the rate of smog but creates a toxic cloud of ‘smug’. In this paper, I use this parody of eco-correctness to interrogate some of Outdoor Education’s environmental aims. Michel Foucault’s later work on the self, morality and governmentality is used to analyse the production of the [neo- iberal] ‘environmentally responsible citizen’. The possibilities and problems of contemporary citizenship discourse are explored in relation to findings from a longitudinal study of students undertaking a tertiary outdoor and environmental education course.

The novel as social satire: 60 years later, the wind done gone and the limitations of fair use

The absence of the doctrine of fair use from Australian copyright law has been a bone of contention in Australia after the Australia-United States Free Trade Agreement (FTA). As the Australian government reformed the Copyright Act 1968 (Cth) in the aftermath of the FTA it eschewed the option of adopting fair use. Instead, Australia chose to incorporate a version of fair use into its existing fair dealing framework. Accordingly, the Copyright Amendment Act 2006 (Cth) inserted ss 41A and 103AA into the Copyright Act. These provisions provide that a fair dealing with a copyright protected work does not constitute an infringement if it is done for the purposes of parody or satire. These provisions codify part of the ratio of the United States Supreme Court in the seminal case of Campbell v Acuff Rose Music. However, the parameters of these new provisions are unexplored and the sparse nature of fair dealing jurisprudence means that the true meaning of the provisions is unclear. Moreover, two cases from the United States, SunTrust Bank v Houghton Mifflin and Salinger v Colting, underline just how important it is to have legal rules that protect literary ‘re-writes’. Both cases involved authors using an original novel to ‘write back’ to the original author and the broader culture. ‘Writing back’ or the ‘re-write’ has a firm basis in literature. It adds something invaluable to our culture. The key question is whether our legal landscape can allow it to flourish. This paper examines the interaction between fair use and literary re-writes.

Poetic revolutionaries: intertextuality and subversion

Poetic Revolutionaries is an exploration of the relationship between radical textual practice, social critique and subversion. From an introduction considering recent debates regarding the cultural politics of intertextuality allied to avant-garde practice, the study proceeds to an exploration of texts by a range of writers for whom formal and poetic experimentation is allied to a subversive politics: Jean Genet, Monique Wittig, Angela Carter, Kathy Acker, Kathleen Mary Fallon, Kim Scott and Brian Castro. Drawing on theories of avant-garde practice, intertextuality, parody, representation, and performance such as those of Mikhaïl Bakhtin, Julia Kristeva, Gérard Genette, Margaret A. Rose, Linda Hutcheon, Fredric Jameson, Ross Chambers and Judith Butler, these readings explore how a confluence of writing strategies – covering the structural, narratological, stylistic and scenographic – can work to boost a text’s subversive power.

Art as parodic practice

Perhaps because of the pervasive sampling, remixing, rehashing and promiscuous citational blending in postmodernity, where quote marks dissolve, parody has come to be seen as a somewhat archaic concept, pertaining to cultures more stably codified and hierarchically ordered, rather than subject to the fluctuations of global markets and phantasmagoric projections affecting the flow of investment moneys. Given the anxiogenic nature of postmodernity under its various guises, willed as hypermodernityand metamodernity or supermodernity, the ideologeme ‘parody’ might be seen as nostalgic symptom in the wake of the ‘grand narratives’ (Lyotard 1984 [1979]) – a rehearsed post-apocalyptic nostalgia for a world of neo-feudalism and fiefdoms, where the seasonal lifting of prohibition for carnival brought on the ‘allowed fool’ (Shakespeare 2006) for parody’s brief upending of the hierarchical order, when high became low, mouth met anus, and wise became mad, even within the Pater Noster of the Holy Mass. (Bakhtin 1980: 78). How the revisitation of parody might illuminate contemporary cultural politics is a driving question behind this collection, a questionmade more urgent by recent global developments of terror.

Having sex with capitalism: parodic in-citation in the prose poem sequence

In his Spleen de Paris or Petits poèmes en prose [Little Prose Poems] Baudelaire (1869) forges an instrument of supple and radical potential, declaring the prose poem a ‘dangerous’ hybrid, which he wills elastic enough and staccato enough, to register the flows, jolts and distractions for the flâneur in the increasingly industrialised Paris. Here,by the mid-19th century, plate glass and gas lighting enable conspicuous consumption. Itis most strikingly the romantic-erotic and the relation between poet and his delicious, execrable wife, his inescapable, pitiless Muse (Baudelaire 1989: 177] that provides the nexus for radical questioning of the whole socio-political economy. Departing from Johnson’s Défigurations (1979) and using Irigaray’s (1984) hypothesis that the economy of sexual difference is the founding trope for the discursive and thus political economy of differences – of culture, ethnicity and class – this article first looks at theway Baudelaire activates the heterosexual relation as a site for social critique. It examines how Perec continues Baudelaire’s prose poetry experiment, offering, pre-May 1968, a revolutionary critique of desire by exploiting formal constraints to deconstruct still further the consumer subject of capitalism. It then investigates Brossard’s ‘hologrammatic’ challenge (1991) to patriarchal regimes of representation and the forms of desire they outlaw. Finally, it suggests how new work by Walwicz (2015)develops and displaces this radical inheritance.

To the very ground of meaning, to vary the ground of meaning

Parody may be understood as the absorption of a revolutionary impulse into the everyday production of meaning as continuous variation and soft subversion. Considered in this way, parody is transformative because it operates on the components within a system of meaning and/or the context, logic or spatial perspective that grounds the possibility of meaning. It is the conditions under which shared meaning, sense and sensation depend that I aim to unpack in order to suggest the ways in which parody can alter a person’s relationship to the world. By approaching parody as a mode of lived abstraction and as an embodied approach to affective self-organisation, body-environment co-construction and a challenge to identity, it becomes possible to move from formal concerns that have characterised parody to a set of transformative practices. Thus parody indicates where the anchors of embodied, embedded, extended, enacted and affective are dug in and hold identity and the ground of meaning in a steady state. This paper will examine how parody moves from the impulse to overthrow and invert — ‘Beneath the street, The beach’—to a collective impulse that moves the ground of meaning into a reconfigurative process that is allows totalised systems of meaning to collide and intersect. What is left is not the rubble and ruins of meaning but revitalised fragments, stems cells of meaning ready-to-be-remade.A lineage of parodic works will be paraded and discussed that directly address the tacit relation of ground, horizon, orientation and position. This parody parade will form the basis of a critique and the analysis of the ontological orientations that for example, opposing systems of perspective insert as the very ground of meaning. The implication of this line of inquiry leads to the assertion that all descriptions of the world, universe and the cosmos are parodies in search of an origin. Totalised or unified images of the ground of meaning are already parodies of a/the set of conditions by which meaning operates that also produce a trajectory that as a lived-abstraction directs or hijacks subsequent productions of meaning

The zombies of sleepy hollow: reimagining Geelong

Place branding is traditionally concerned with drawing on the positive and unique elements of a community to generate investment and build community pride. In 2014 a promotional video was released portraying Geelong as a zombie town, with flamboyant Mayor Darryn Lyons riding in on horseback to save the city and its people. The imagery was more at home in cult zombie cinema than a tourism promotion. Critics berated the video as an ill-conceived stunt that carried a message derisive to the local community. Supporters focused on the bold, creative nature of the endeavour, claiming its potential to ‘go viral’ would enhance Geelong’s media presence, improve the city’s perception and draw visitors to the area. Geelong was first badged ‘Sleepy Hollow’ in the 1860s when the new gold towns of Ballarat and Bendigo boomed, challenging its supremacy as a commercial centre. Geelong prospered in the 1920s through industrialisation, but the moniker has remained. Today, Geelong faces a period of economic uncertainty and transition as it adjusts to major job losses in manufacturing. While this presents significant challenges, it also creates opportunities for the city to re-imagine itself by capitalising on the physical and cultural assets that set Geelong apart. While the zombie video has sparked debate, its success in influencing views of the city is constrained by its references to past stigma and its imposition of a new sense of dystopia in the present. This paper explores the Sleepy Hollow predicament and considers how the branding of Geelong might move beyond parody to better reflect its position as Victoria’s largest regional centre through an approach based on imageability, narrative, assets and investment.

Three flying saucers

Three Flying Saucers is wall mounted set of three works which parody the iconic kitsch set of three flying ducks which inhabit the walls of many houses from the 1950’s to today. The project proposes a time in the future where contact with alien intelligent life has been established and we have finally obtained proof that Flying Saucers were real and had been visiting our world for many decades. Now these mysterious celestial forms have been adopted as the new kitsch and adorn the homes of the future.

Reverberation and the parodic: an invitation to the spaces of sound

Jacques Rancière in The Politics of Aesthetics speaks of artistic practices ‘as ways of ‘doing and making’ that intervene in the general distribution of ways of doing and making’ (2013: 8). ‘Reverberation’ in the various dimensions explored by this paper is the compelling and parodic force, which signals the transformative potential of the spaces of music, word and sound collaborations. This paper will present the mixed impulse of parody as repetition with difference in Deleuze’s sense, or ironic ‘trans-contextualisation’ (Hutcheon 2000: 32), contextualised by Foucault’s heterotopic thought, Steve Reich’s minimalist music, and Brian Eno’s recognition of ambient sound in 1975 (Howard 2004: 91). Also explored is Hutcheon’s investigation of the etymology of parody as ‘counter-song’, which suggests intimacy and accord. The latter understanding of parody will be of particular importance in a discussion of New York-based band, The National.

Untitled (I know subtle cartographies)

This short poem parodies Wallace Stevens' '13 Ways of Looking at a Blackbird': VIII to show how the knowledge of the current Australian 'border protection' policy regarding refugees contaminates all aspects of our ethical being.