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- W2019925194 abstract "This paper focuses on the white silk handkerchief that washes up after a storm with the wreckage of the ship that was taking Euthanasia to her exile at the end of Mary Shelley's historical romance, Valperga. Thinking about the representation of history as a history of representation, I explore the persistence and the opacity of objects, images, and visual phenomena as agents of historical understanding. With a few golden hairs still in its knot, the handkerchief is a relic of an individual body, but it also remembers other pasts as well, as its allusion to the famous handkerchief in Othello suggests. At once an ontological fact and a spectral sign, the handkerchief marks the turn in Shelley's conclusion from “private chronicles” (subjectivity, fantasy) to “public histories” (objectivity, the actual), or, rather, it marks the incompleteness of that turn. As residue, an extraneous yet tangible trace in the text, Euthanasia's handkerchief cannot by definition be assimilated into a logic of identity, but neither does it provide unobstructed access to a communal meaning or reality beyond or in opposition to such a logic. At the unstable boundary between presence and the past, memory and forgetting, this transitional object gestures towards history as an aesthetics of the uncanny." @default.
- W2019925194 created "2016-06-24" @default.
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- W2019925194 date "2009-12-01" @default.
- W2019925194 modified "2023-09-26" @default.
- W2019925194 title "Euthanasia's handkerchief; or, The object at the end of history" @default.
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- W2019925194 doi "https://doi.org/10.1080/10509580903407845" @default.
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