Ethnoscaping Canada's boreal forest: liberal whiteness and its disaffiliation from colonial space

This essay examines the construction of Canada's boreal forest from the point of view of critical whiteness studies. Through an evaluation of two texts—a film and a book—produced in conjunction with a 2003–2004 environmental campaign, it argues that the boreal forest is constructed as a white ethnoscape and that, as a result, boreal forest conservation comes to be associated with ‘white’ identity, although by no means exclusively so, and certainly not without significant contradictions. The essay deploys Robyn Wiegman's notion of liberal whiteness to argue that liberal white subjectivity is cultivated in these texts by its self‐conscious distancing, or disaffiliation, from colonial spatial practices. It is argued that this distancing is achieved through the active inclusion of First Nations peoples in the texts such that the boreal forest is constructed as a socio‐natural working landscape. Liberal white disaffiliation is explored through three specific tropes: inclusion, inverted racial historicism and economic partnership.     

Erschöpfte Literatur. Über das Neue bei Samuel Beckett

Exhausted Literature. The Emergence of the New in Samuel Beckett's Novels and Plays. The article investigates literary subjectivity in some texts by Samuel Beckett. The article proceeds by relating the ways of how narration and speech acts constitute literary subjectivity to the problems of subjectivity that scientific investigations deal with. While successful self‐regulation of the organism nourishes the roots of subjectivity, i. e. the habits, subjectivity decomposes in states of exhaustion, when self‐regulation breaks down. As soon as a certain threshold is transgressed, fatigue sets in, alters the personality and eventually leads to exhaustion – a state, which psychiatrists compare to mental illness. Notwithstanding the different explanations given, scientists agreed about the effects of exhaustion. According to their investigations, the decomposition of personality by exhaustion generally does not involve apathy, withdrawal from activity or termination of movements, but rather mere action. Similarly, in Beckett's novels and plays exhaustion is much more than tiredness, as French philosopher Gilles Deleuze observed. For Beckett, exhaustion is rather the model for both literary innovation and a new concept of subjectivity, which he explores on the basis of a detailed knowledge of physiology, psychology, and psychiatry, but using his own literary means. The exhausted subject is beyond any calculus of activity. It will perform an activity even if he or she makes mistakes or loses control, and will thus act in an unpredictable way. This unpredictable action is not an exception in the continuation of the habits, but rather points to the moment when a new subjectivity emerges. Such new subjectivity surfaces in Beckett's novels and plays in forms of literary innovation.     

„Die Photographie als Hülfsmittel mikroskopischer Forschung”︁? Joseph von Gerlach (1820–1896) und die frühen anatomischen Mikrophotographen

The Erlangen anatomist Joseph von Gerlach was one of the first medical researchers who used microphotography for their scientific aims in basic tissue research. Already in 1863, Gerlach published a famous handbook on the methodology of the microphotographic technique, entitled Die Photographie als Hülfsmittel mikroskopischer Forschung. Here, he discussed the technological, practical and epistemological standards and constraints of the newly introduced visualisation technique of scientific photography. The efforts and setbacks of Gerlachs' innovative approaches shall be characterised in the present paper. Furthermore, some of the most important arguments put forward by some of his peers are closely compared and thoroughly scrutinised. These anatomical and biological microscopists objected frequently to Gerlach's photographic approach as being "unscientific" or "insufficient" to support the growth of experimental morphology and neurohistological research. In his scientific self-defence, Gerlach developed important auxiliary arguments that display many facets of the epistemological discourse of 19th-century medical research, particularly on the question of how scientific objects should be visualised and identified in the experimental laboratory.     

Les parties étiologiques de l'Ardvīsūr Bānūg Yašt et les noms de la grande déesse iranienne

In this paper, we show that the Yats wehave are not authentic in so far as that theyare the fruit of the arbitrary mixture of thethree kinds of the original Yats: theliturgical one, the legal one and theetiological one. In a lot of our Yats, moreweight is given to the liturgical version (withyazamaide), but, in the bnYat, the legal one (with yazaa)plays the main role. By considering alltogether the etiological fragments thebn Yat contains, it is possible toenlarge upon what we knew already of what mayhave constituted the etiological myth of thesacrifice offered to a deity.Incidentally, all the different names thegreat Iranian goddess receives, ap-, areduu-,sr- and anhit-, are explained: `water, soft,opulent, unaffected'.     

Critique of Science as Critique of Society: Literary Figurations of Techno-scientific Fetishism (Introduction)

What's Next? Michael Crichtons und Mikhail Bulgakovs Kritik der Fetischisierung in den Lebenswissenschaften . Dieser Beitrag wurde angeregt durch den Thriller Next (2006) von Michael Crichton. Im Gegensatz zu dessen State of Fear (2004), wo die Behandlung eines aktuellen wissenschaftspolitischen Problems – des Klimawandels – mit einer harschen Kritik am Umgang politischer Aktivisten mit wissenschaftlichen Ergebnissen einhergeht, setzt Next Hoffnungen und Ängste ins Zentrum, die im Zusammenhang mit dem ‚Human Genome Project‘ verhandelt wurden. Crichton stellt hier wissenschaftlich-ökonomische Verflechtungen dar, vor denen er schon in seinen Romanen zu Jurassic Park (1990) warnte. Hier wird auf die Gefahr der Fetischisierung im Zusammenhang mit utopisch untermalten wissenschaftlich-technischen Großprojekten und der Phantasie ‚Leben zu machen‘ hingewiesen, und es werden entsprechende Motive und Narrative der ,longue-durée‘ aufgegriffen, z.B. künstliche Menschen, menschliche Hybris und das Außer-Kontrolle-Geraten wissenschaftlich-technischer Großprojekte. Unter der Fragestellung, wie kritische Wissenschaftsreflexion im Medium von Literatur erfolgen kann und was der spezifische Beitrag aus der Wissenschaftsgeschichte wäre, behandelt dieser Essay neben Werken von Michael Crichton (vor allem Next und Lost World, 1997) auch die satirischen Novellen Die verhängnisvollen Eier (1924/1925) und Hundeherz (1926/1968) von Mikhail Bulgakov, da bereits dort die (mögliche) künstliche Hervorbringung von Lebewesen unter der Bedingung eines (versuchten) direkten Zugriffs auf deren Reproduktionsmechanismen fokussiert wurde. Wissenschaftskritik als Gesellschaftskritik zeigt sich hier als Reflexion auf die Grenzen zwischen Wissenschaft und Gesellschaft und auf die Verantwortung der entlang dieser Grenzen agierenden Menschen, aber auch auf strukturelle Gewalt und deren Auswirkungen auf die Verhältnisse zwischen Menschen und Naturdingen sowie unter Menschen. Summary: What's Next? Michael Crichton's and Mikhail Bulgakov's Criticism of Fetishism in the Life Sciences . This paper was first inspired by Michael Crichton's last thriller, Next (2006), which staged hopes and fears triggered by the completion of the Human Genome Project and by the perfection of Polymerase chain reaction techniques, enabling the replication of DNA on a large scale. These developments nourished fantasies about the artificial (re)construction of living beings from DNA. Crichton had already warned of the fetishization of artificially produced living beings in Jurassic Park and in the novels on which the film was based inventing a futuristic scenario where this was happening on a large scale. Here, the topics of hubris and hybrids were center stage. In Next, the fetishization of life is an effect of the growing encroachment of economic actors upon the life sciences. This paper compares Crichton's criticism of techno-scientific fetishism with Mikhail Bulgakov's critical account of human tinkering with the reproductive organs of humans and non-humans in his two satirical novels The Fateful Eggs and Dog's Heart. The works of both authors link criticism of science with criticism of society. They focus the borders between science and society and analyze the responsibilities of humans who are acting along those borders. The thrillers and satirical novels illustrate the – often violent – power relations between humans and nature and also among humans. Comparing two authors who wrote nearly a century apart from each other and focussing different social systems will help compare longue-durée and more specific forms of techno-scientific fetishism.