This essay focuses on the overwhelming influence of global capitalism, in which the eruption of the Zi^ekian Real serves as the disruptive subversion. This essay suggests that the reading of ZiZek＇s and Derridean eth...This essay focuses on the overwhelming influence of global capitalism, in which the eruption of the Zi^ekian Real serves as the disruptive subversion. This essay suggests that the reading of ZiZek＇s and Derridean ethical notions not only shed light on the present global disappointment, but unfold a complementary critical facet in our democratic society. In order to explore the complexity and contradiction of capitalism in Transmission, my reading locates the working of global capitalism as a psychoanalytical mode of drive and desire. These two modes become two elementary motivations forming one＇s dream of being wealthy and the nightmare of being abandoned in Haft Kunzru＇s Transmission. In the novel, the Indian computer engineer, Arjun Mehta, desires to save his job by creating a computer virus, which, I aver, turns out to trigger the eruption of the ZiZekian Real, dissolving the exclusive domain of global capitalism. Both Arjun and the CEO of Tomorrow, Guy Swift turn out to be the victims of global capitalism, even though the former believes in American dream and the later believes in the power of the future. It is the traumatic experience that shatters Guy＇s dream of global capitalism and triggers his absolute responsibility to the other. It also shatters Arjun＇s strong faith in global capitalism. I argue that it is imperative for readers to review the devouring drive of global capitalism to eschew the devastating consequence, by the reflecting ethically on global capitalism. Both ZiZek and Derrida＇s ethical reflection may offer us a way out of the dilemma of global capitalism.展开更多
Radiation damage is an important factor that must be considered while designing nuclear facilities and nuclear materials. In this study, radiation damage is investigated in graphite, which is used as a neutron reflect...Radiation damage is an important factor that must be considered while designing nuclear facilities and nuclear materials. In this study, radiation damage is investigated in graphite, which is used as a neutron reflector in the Tehran Research Reactor (TRR) core. Radiation damage is shown by displacement per atom (dpa) unit. A cross section of the material was created by using the SPECOMP code. The concentration of impurities present in the non-irradiated graphite was measured by using the ICP-AES method. In the present study the MCNPX code had identified the most sensitive location for radiation damage inside the reactor core. Subsequently, the radiation damage (spectral-averaged dpa values) in the aforementioned location was calculated by using the SPECTER, SRIM Monte Carlo codes, and Norgett, Robinson and Torrens (NRT) model. The results of “Ion Distribution and Quick Calculation of Damage”(QD) method groups had a minor difference with the results of the SPECTER code and NRT model. The maximum radiation damage rate calculated for the graphite present in the TRR core was 1.567 9 10^-8 dpa/s. Finally, hydrogen retention was calculated as a function of the irradiation time.展开更多
This short paper aims to discuss the unbearably-heavy weight of childhood memory and the survivor’s guilt as the symptoms in the novel,The Kite Runner,published in 2003,by an Afghan-American writer,Khaled Hosseini.It...This short paper aims to discuss the unbearably-heavy weight of childhood memory and the survivor’s guilt as the symptoms in the novel,The Kite Runner,published in 2003,by an Afghan-American writer,Khaled Hosseini.It describes the ambivalent relationship between the father and the son against the background of political turmoil in Afghanistan—how they have a good life together in Afghanistan and afterwards how they are forced to leave their homeland like refugees to Pakistan and then to The United States for a new life with the survivor’s guilt after the tumultuous period of the Soviet military invasion.The narrator,Amir,treasures the memories of his old homeland,Afghanistan,the innermost remnants of his being,which has become as the specter haunting his present life in the United States.Amir has to return to his old homeland to meet his father’s closest friend,Rahim Khan,and to rescue Sohrad,the son of his half-brother,Hassan,from the Taliban regime.This ethical return to the past not only has unfolded certain secrecy of his father’s dishonor but also has healed his sense of survivor’s guilt because of his evil rivalry of jealousy against Hassan to fully possess his father’s love in his childhood.In my discussion of ethnic hierarchy and conflicts in Afghanistan described in the novel,Jacques Derrida’s and Giorgio Agamben’s theoretical concepts,such as the problematic of sovereignty,sovereign animality and bare life in The Beast&the Soveriegn and Homo Sacer,will be used to penetrate the deeper understanding of their traumatic past as haunting specters.展开更多
The Freudian notion of the compulsion repetition governed by the death drive beyond the pleasure principle with its inherent persistence of a nostalgic dream both to restore the earlier state of things and to return t...The Freudian notion of the compulsion repetition governed by the death drive beyond the pleasure principle with its inherent persistence of a nostalgic dream both to restore the earlier state of things and to return to the inanimate state has attracted philosophers,particularly Deleuze and Derrida,to revise,enrich,and broaden the concept in their theories of difference in repetition and the archives.Deleuze reconnects it with Nietzsche’s notion of eternal return to tackle with the phenomenon of the events returning in difference of repetition.As to Lacan,the post-Freudian psychoanalyst,the death drive is in search of the lost Object,the original loss within the subject,Derrida theorizes the concept of archives in the unconscious memories to further elaborate that the death drive,in its interiorly-dialectical conflicts on the way to search for“a priori,”namely,“the origin,”has encountered the loss.Thus,the death drive,haunted by the specters of the past,develops the archive fever with the persistent passion to reach trembling sublimity.The movie,The Legend of 1900,directed by Giuseppe Tornatore,helps understand the problem that the talented pianist,1900,abandoned in the ship by his birth parents when he was born and raised by a black worker as his foster father who died by accident,chooses to die with the ruined ship,“his only home,”in absolute solitude although he was once driven by his passionate love for a woman to get off the ship and he failed the chance.The 1900’s official identity is the lost archive on the land;he has been haunted by the lost archive:no memories of his birth parents.展开更多
This short paper aims to critically analyze a contemporary Taiwan Residents film, The Fourth Portrait, directed by Meng-Hung Chung, from the perspective of Delenzian theories. In Deleuze＇s two books on cinema, the di...This short paper aims to critically analyze a contemporary Taiwan Residents film, The Fourth Portrait, directed by Meng-Hung Chung, from the perspective of Delenzian theories. In Deleuze＇s two books on cinema, the discussion of images demonstrates the entangled juxtaposition of the three levels： brain-thought, cinema-screen, and world-images that compose the cinematic consciousness. Through the interacted movement-images and time-images, the film unfolds the storyline within the aesthetic pleasure of poetic sentiment that gradually leads the audience to learn that a wandering boy, Hsiao-Hsiang, after the death of his father, has had several adventurous encounters that gradually expose the secrecy of his traumatic family： His birth mother has no decent job and his step-father has killed his own brother. This broken family has been haunted by the shared guilt and the undead memory as Derrida famously claims that hauntology precedes ontology. As the past coexists with the present, Deleuze analyzes the concept of I, with a central fracture in its pure form of the past demonstrating an ontological enigma that remains forever a secret. When the director uses the four portraits to indicate the four important events of this wandering boy, he deliberately leaves empty the fourth portrait, the self-portrait of the boy; it remains as an incomplete piece which symbolizes an enigma of his own life. It shows certain constitutive unnamable forces acting within the boy that seduces him forever to painfully misrecognize himself.展开更多
文摘This essay focuses on the overwhelming influence of global capitalism, in which the eruption of the Zi^ekian Real serves as the disruptive subversion. This essay suggests that the reading of ZiZek＇s and Derridean ethical notions not only shed light on the present global disappointment, but unfold a complementary critical facet in our democratic society. In order to explore the complexity and contradiction of capitalism in Transmission, my reading locates the working of global capitalism as a psychoanalytical mode of drive and desire. These two modes become two elementary motivations forming one＇s dream of being wealthy and the nightmare of being abandoned in Haft Kunzru＇s Transmission. In the novel, the Indian computer engineer, Arjun Mehta, desires to save his job by creating a computer virus, which, I aver, turns out to trigger the eruption of the ZiZekian Real, dissolving the exclusive domain of global capitalism. Both Arjun and the CEO of Tomorrow, Guy Swift turn out to be the victims of global capitalism, even though the former believes in American dream and the later believes in the power of the future. It is the traumatic experience that shatters Guy＇s dream of global capitalism and triggers his absolute responsibility to the other. It also shatters Arjun＇s strong faith in global capitalism. I argue that it is imperative for readers to review the devouring drive of global capitalism to eschew the devastating consequence, by the reflecting ethically on global capitalism. Both ZiZek and Derrida＇s ethical reflection may offer us a way out of the dilemma of global capitalism.
文摘Radiation damage is an important factor that must be considered while designing nuclear facilities and nuclear materials. In this study, radiation damage is investigated in graphite, which is used as a neutron reflector in the Tehran Research Reactor (TRR) core. Radiation damage is shown by displacement per atom (dpa) unit. A cross section of the material was created by using the SPECOMP code. The concentration of impurities present in the non-irradiated graphite was measured by using the ICP-AES method. In the present study the MCNPX code had identified the most sensitive location for radiation damage inside the reactor core. Subsequently, the radiation damage (spectral-averaged dpa values) in the aforementioned location was calculated by using the SPECTER, SRIM Monte Carlo codes, and Norgett, Robinson and Torrens (NRT) model. The results of “Ion Distribution and Quick Calculation of Damage”(QD) method groups had a minor difference with the results of the SPECTER code and NRT model. The maximum radiation damage rate calculated for the graphite present in the TRR core was 1.567 9 10^-8 dpa/s. Finally, hydrogen retention was calculated as a function of the irradiation time.
文摘This short paper aims to discuss the unbearably-heavy weight of childhood memory and the survivor’s guilt as the symptoms in the novel,The Kite Runner,published in 2003,by an Afghan-American writer,Khaled Hosseini.It describes the ambivalent relationship between the father and the son against the background of political turmoil in Afghanistan—how they have a good life together in Afghanistan and afterwards how they are forced to leave their homeland like refugees to Pakistan and then to The United States for a new life with the survivor’s guilt after the tumultuous period of the Soviet military invasion.The narrator,Amir,treasures the memories of his old homeland,Afghanistan,the innermost remnants of his being,which has become as the specter haunting his present life in the United States.Amir has to return to his old homeland to meet his father’s closest friend,Rahim Khan,and to rescue Sohrad,the son of his half-brother,Hassan,from the Taliban regime.This ethical return to the past not only has unfolded certain secrecy of his father’s dishonor but also has healed his sense of survivor’s guilt because of his evil rivalry of jealousy against Hassan to fully possess his father’s love in his childhood.In my discussion of ethnic hierarchy and conflicts in Afghanistan described in the novel,Jacques Derrida’s and Giorgio Agamben’s theoretical concepts,such as the problematic of sovereignty,sovereign animality and bare life in The Beast&the Soveriegn and Homo Sacer,will be used to penetrate the deeper understanding of their traumatic past as haunting specters.
文摘The Freudian notion of the compulsion repetition governed by the death drive beyond the pleasure principle with its inherent persistence of a nostalgic dream both to restore the earlier state of things and to return to the inanimate state has attracted philosophers,particularly Deleuze and Derrida,to revise,enrich,and broaden the concept in their theories of difference in repetition and the archives.Deleuze reconnects it with Nietzsche’s notion of eternal return to tackle with the phenomenon of the events returning in difference of repetition.As to Lacan,the post-Freudian psychoanalyst,the death drive is in search of the lost Object,the original loss within the subject,Derrida theorizes the concept of archives in the unconscious memories to further elaborate that the death drive,in its interiorly-dialectical conflicts on the way to search for“a priori,”namely,“the origin,”has encountered the loss.Thus,the death drive,haunted by the specters of the past,develops the archive fever with the persistent passion to reach trembling sublimity.The movie,The Legend of 1900,directed by Giuseppe Tornatore,helps understand the problem that the talented pianist,1900,abandoned in the ship by his birth parents when he was born and raised by a black worker as his foster father who died by accident,chooses to die with the ruined ship,“his only home,”in absolute solitude although he was once driven by his passionate love for a woman to get off the ship and he failed the chance.The 1900’s official identity is the lost archive on the land;he has been haunted by the lost archive:no memories of his birth parents.
文摘This short paper aims to critically analyze a contemporary Taiwan Residents film, The Fourth Portrait, directed by Meng-Hung Chung, from the perspective of Delenzian theories. In Deleuze＇s two books on cinema, the discussion of images demonstrates the entangled juxtaposition of the three levels： brain-thought, cinema-screen, and world-images that compose the cinematic consciousness. Through the interacted movement-images and time-images, the film unfolds the storyline within the aesthetic pleasure of poetic sentiment that gradually leads the audience to learn that a wandering boy, Hsiao-Hsiang, after the death of his father, has had several adventurous encounters that gradually expose the secrecy of his traumatic family： His birth mother has no decent job and his step-father has killed his own brother. This broken family has been haunted by the shared guilt and the undead memory as Derrida famously claims that hauntology precedes ontology. As the past coexists with the present, Deleuze analyzes the concept of I, with a central fracture in its pure form of the past demonstrating an ontological enigma that remains forever a secret. When the director uses the four portraits to indicate the four important events of this wandering boy, he deliberately leaves empty the fourth portrait, the self-portrait of the boy; it remains as an incomplete piece which symbolizes an enigma of his own life. It shows certain constitutive unnamable forces acting within the boy that seduces him forever to painfully misrecognize himself.
