2017 | 14/2 | 141-157
Article title

At the interplace: Giant, Tino Villanueva and America’s promise of diversity

Title variants
Interplace (pomiędzy): Giant, Tino Villanueva i amerykańska obietnica różnorodności
Languages of publication
The two founding conceptions of the “sublime” are Burke’s and Kant’s. Drawing from Casey (and Buber), the article introduces a third concept of the “interplace”, an in-between, relational space of mutuality. Building on this notion, it is argued that Tino Villanueva’s collection Scene from the Movie GIANT, written in response to the climactic scene of the film Giant, enacts an intervention into the scene’s interpellating force and, in so doing, doubly embodies the interplace. Further, it is argued that the film’s two scenes stage allegorically an interplace of the white American patriarchy’s dilemmas of the 1950s. The scenes problematize America’s ability to change and follow through on the promise of reconciliation in diversity. The last section of the paper reviews a number of paradigmatic challenges America has been rehearsing in the past decades and argues that the current backlash against the transformative agenda constitutes a disappointment of the hopes expressed by Giant and Villanueva. The divisive rhetoric of today represents a retreat from the interplace of dialog.
Dwie założycielskie koncepcje pojęcia “sublime” pochodzą od Burke’a i Kanta. Czerpiąc z propozycji Casey’a (i Bubera), artykuł wprowadza trzecią koncepcję interplace jako przestrzeni dialogu w miejscu „pomiędzy”. Pojęcie to zastosowane jest do analizy zbioru poetyckiego Scene from the Movie GIANT Tino Villanuevy, który powstał w odpowiedzi na kulminacyjną scenę filmu Gigant. W dalszej części artykuł dowodzi, że dwie sceny filmu można traktować jako alegoryczne przedstawienie interplace dylematów białego amerykańskiego patriarchatu w latach 50. XX wieku. Sceny te problematyzują zdolność Ameryki do zmiany i pojednania w różnorodności. W ostatniej części zarysowane są wyzwania paradygmatyczne, z jakimi zmagała się Ameryka w ostatnich dekadach, a zwrot ku konserwatyzmowi zinterpretowany jest jako zawiedzenie nadziei Giganta i Villanuevy. Rozłamowa retoryka współczesności stanowi ucieczkę od dialogicznego interplace.
Physical description
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Document Type
Publication order reference
YADDA identifier
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