Katherine Burn - Recalibrating the Contemporary: Reading the phenomenology of shame in Metamodernism

<p>Season four of the BSP Podcast continues with a paper from Katherine Burn, Manchester Metropolitan University. The recording is taken from our 2019 Annual Conference, ‘The Theory and Practice of Phenomenology’.</p> <p> </p> <p>ABSTRACT: Contemporary British fiction is situated within a moment of flux, ‘made from a different fabric and holds a different elasticity’ (Boxall, 2013). Recent advancements in shame studies address the philosophical turn towards a phenomenological understanding of the emotion as ‘everyday life feels increasingly uncanny’ (Hinton and Willemsen, 2018). The intersection between shame and contemporary fiction connects within the nascent field of metamodernism in which we can identify ‘a structure of feeling that emerges from, and reacts to, the postmodern’ (Van den Akker and Vermeulen, 2017). We are living in shameless times wherein it is possible to feel a second-hand shame towards those whose politics shamelessly exploit us as subjects of late capitalism, impacting our impression of everyday life and reconstructing our sense of the authentic. Yet, this space of the shame of shamelessness has largely remained ‘invisible’ (Weiss, 2018) within contemporary literary studies even though our actions ‘inevitably reverberate beyond ourselves affecting not only others but also the larger society in which we live’ (Weiss, 2018). To fully understand this ontological position, we must utilise Heidegger’s fundamental ontology to reorient our understanding of the everyday nature of autonomous shame and its representation within Tom McCarthy’s Remainder and Eley Williams’ Attrib. Reflecting on Rudi Visker’s claim that, ‘shame can thus be seen to occupy a structurally similar place – a topos – to anxiety in Heidegger’s ontology’ (Visker, 2004), this paper seeks to explore a Heideggerian notion of shame as disclosive mechanism between ‘unowned existence’ (Stolorow, 2011) and authentic individuation. Twenty-first century British fiction thus reveals the reconstructive force within moments of self-eva