Marc Redfield
Brown University
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Diacritics | 2008
Marc Redfield
although no event releases its full historical dimensions to those who endure it, the fact that the terrorist attacks of September 11 left a mark on ordinary language offers a hint of their historical force. a society keyed to spectacle is necessarily an intensely if narrowly verbal society, and it is above all as a name that September 11 has become part of everyday american cultural life. the array of images—photographs and video recordings—remain on call in the archive, forever ready to reappear in the media or to be accessed via the internet; but far more available, endlessly and unavoidably available, whether for purposes of quotidian communication or political manipulation, are the keywords themselves: the name-date, “September 11” or “9/11,” and, shadowing it, an atomic-era military idiom, “ground zero,” turned toponym. Speakers of american english can no more evade these newly minted proper names than they can the metaphysically and historically overburdened phrase “war on terror,” which, in the name of “September 11,” has provided the official gloss for so many acts of uS state violence since the fall of 2001. more localized linguistic fallout from the attacks also exists, and may or may not turn out to hold interest for cultural analysts or historians. But no cultural study of the September 11 attacks and their aftermath, whatever the methodology or emphasis, can afford to ignore the rhetorical and political work performed by this event’s loomingly proper names—particularly
Review of Education, Pedagogy, and Cultural Studies | 2008
Marc Redfield
Although no event releases its historical dimensions to those who endure it, the fact that the terrorist attacks of September 11 left a mark on ordinary language offers a hint of their historical force. A ‘‘society of spectacle’’ is necessarily an intensely if narrowly verbal society; and it is not just as an array of images but above all as a name that this atrocity has become part of everyday American cultural life. The photographs and video recordings remain on call in the archive, forever ready to reappear in the media or to be accessed via the internet; but far more available, endlessly and unavoidably available, whether for purposes of quotidian communication or political manipulation, are the keywords themselves: the name-date, ‘‘September 11’’ or ‘‘9=11,’’ and, shadowing it, an atomic-era military idiom, ‘‘ground zero,’’ turned toponym. Speakers of American English can no more evade these newly minted proper names than they can the metaphysically and historically overburdened phrase ‘‘war on terror,’’ which, in the name of ‘‘September 11,’’ has provided the official gloss for so many acts of U.S. state violence since the fall of 2001. More localized linguistic fallout from the attacks also exists, and may or may not turn out to hold interest for cultural analysts or historians. But no cultural study of the September 11 attacks and their aftermath, whatever the methodology or emphasis, can afford to ignore the rhetorical and political work performed by this event’s loomingly proper names—particularly the name-date itself, for which no synonyms exist, and which anchors all talk and all analysis of ‘‘September 11’’ to a powerful, haunting catachresis. These names reiterate the trauma to which they point, and a close reading of them will help us approach the difficult question
Archive | 1996
Marc Redfield
Archive | 2002
Janet Farrell Brodie; Marc Redfield
Archive | 2009
Marc Redfield
Diacritics | 1999
Marc Redfield
Archive | 2009
Marc Redfield
Pmla-publications of The Modern Language Association of America | 1989
Marc Redfield
Archive | 2007
Marc Redfield
Pmla-publications of The Modern Language Association of America | 2005
Emily Apter; Houston A. Baker; Seyla Benhabib; Geoffrey Bennington; Svetlana Boym; Eduardo Cadava; Jonathan Culler; Patricia Dailey; Carla Freccero; Geoffrey H. Hartman; Peggy Kamuf; Christie McDonald; J. Hillis Miller; Andrew Parker; Jean-Michel Rabaté; Marc Redfield; Alessia Ricciardi; Avital Ronell; Matthew Rowlinson; Gayatri Chakravorty Spivak