「George Orwell」を含む日記

ある人の嗅覚倫理に関する論文だけど、文献だけで匂いが影響を与えると書いてるから女性に学位を与えるのは無駄だと言われる。

論文書くなら、裁判官にセンサーを取り付けるなり、何人かの被験者にルールを守った上で反応を調べるとかやりようはあったはず。

アタリマエのことを調べるというのは裁判での証拠提出のときに役立つからもっと調べてほしい。

けど、統計学的手法を駆使するなどして、裁判官が9割型認める内容でないと価値がない。

contemporary relevance. I suggest that smell very often invokes identity in a way that signifies an individual’s worth and status in an inarguable manner that short-circuits consciousreflection. This can be accounted forby acknowledging olfaction’s strongly affectivenature, which produces such strong bodily sensations and emotions that reflexivityis bypassed in favour of a behavioural or cognitive solution thatassuages the intense feelingmost immediately. Olfactorydisgust, therefore, tends to result in rejection, while harmful forms of olfactorydesire may result in sublimation or subjugation. My thesis is particularly attentive to tensionsand ambivalences that complicate the typically bifurcated affectivespectrum of olfactory experiences, drawing attention to (dis)pleasurable olfactory relations that have socio-political utility. I argue that literary fiction is notonly anarena in which olfactorylogics can be instantiated, but also a laboratory in which possibilities for new kinds of relations and connections can be fostered and tested. ChapterOne exploreshow smell can be used to indicate class antipathies, partlyas they relate tohomelessness,beginning withGeorge Orwell’s seminal non-fiction text, TheRoad to Wigan Pier (1936), before considering Iain Sinclair’s TheLast London (2017) and Bong Joon Ho’s Parasite (2019). In ChapterTwo I explorethe fantastical, idealistic, and utopic thinking that surrounds olfaction, which presents smellas fundamentally non-human,by addressing J. M. Coetzee’s Disgrace (1999), Virginia Woolf’s Flush (1933), Rachel Yoder’s Nightbitch (2021), and Laura Jean McKay’s The Animals in That Country (2020). Chapter Three focuseson the intersectional olfactory dimensions of ‘misogynoir’—the coextensive anti-Black racism and misogyny that Black women experience—and considers Toni Morris on’sTar Baby (1981), Bernice McFadden’s Sugar (2000) andRaven Leilani’s Luster (2020). In Chapter Four, I conceptualise an oppressive olfactorylogic, whichis used against women and girls in order to legitimise their harassment or abuse, drawing primarilyon Vladimir Nabokov’sLolita (1955), but also Patrick Süskind’sPerfume (1985). ChapterFive discussestwo forms of olfactorydesire—perversion and queerness—which have separate moral valences. Iaddress J. M. Coetzee’s The Master of Petersburg (1994),Ann Quin’s Berg (1964), and SamByers’ ComeJoin OurDisease (2020),and argue for fiction’s role in reorienting readers’ habitual relations to olfaction.
Date
2024-06-25