The Ethics of Ekphrasis in the 21st Century American Fiction
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There has been an extensive body of theoretical and literary analysis on the 9/11 catastrophe has marked an indelible trace of trauma on the threshold of 21st century in 2001.The critics after 9/11 produce a list of essays on 9/11 poetry, which deal with an orthopedic structure of the categories of memory, witness, and narrative to give us an anamorphic perspective for understanding the nature of the poems after 9/11. They demonstrate how the 9/11 event has become the driving force for the new understanding of poetry as an emerging popular genre in the American literature intergrated in our daily lives. It was not simply in poetry that we could find the new understanding of American values before and after 9/11. There has been an extensive body of theoretical analysis on 9/11 as well as immense interest in dealing with 9/11 both extensively/significantly and/or obliquely in the novels. In fact, post-9/11 American fiction has been reconfigured in terms of a post-9/11 ethics. The story world built up by novels in the 21st century is deeply embedded in the question of how to reconstruct the ethical principles, when the novelists encounter the ethical dilemma of representing the sublime events such as earthquakes, genocide or death, while recognizing the absence of the object in the feeling of the sublime image of the disaster. Appropriating Dominick LaCapra’s “acting-out” and “working-through” and W. J. T. Mitchell’s “ethical process” from “ekphrastic fear” to “ekphra- stic hope,” this article argues that post-9/11 fiction offers readers a way to begin thinking a new narrative ethics addressing how to respond internally and externally to tragics events like 9/11.
Abstract
There has been an extensive body of theoretical and literary analysis on the 9/11 catastrophe has marked an indelible trace of trauma on the threshold of 21st century in 2001.The critics after 9/11 produce a list of essays on 9/11 poetry, which deal with an orthopedic structure of the categories of memory, witness, and narrative to give us an anamorphic perspective for understanding the nature of the poems after 9/11. They demonstrate how the 9/11 event has become the driving force for the new understanding of poetry as an emerging popular genre in the American literature intergrated in our daily lives. It was not simply in poetry that we could find the new understanding of American values before and after 9/11. There has been an extensive body of theoretical analysis on 9/11 as well as immense interest in dealing with 9/11 both extensively/significantly and/or obliquely in the novels. In fact, post-9/11 American fiction has been reconfigured in terms of a post-9/11 ethics. The story world built up by novels in the 21st century is deeply embedded in the question of how to reconstruct the ethical principles, when the novelists encounter the ethical dilemma of representing the sublime events such as earthquakes, genocide or death, while recognizing the absence of the object in the feeling of the sublime image of the disaster. Appropriating Dominick LaCapra’s “acting-out” and “working-through” and W. J. T. Mitchell’s “ethical process” from “ekphrastic fear” to “ekphra- stic hope,” this article argues that post-9/11 fiction offers readers a way to begin thinking a new narrative ethics addressing how to respond internally and externally to tragics events like 9/11.
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