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Copyright of Studia Theologica Varsaviensia is the property of Uniwersytet Kardynala Stefana Wyszynskiego w Warszawie and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studia Litteraria Universitatis Iagellonicae is the property of Jagiellonian University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuestiones Teológicas is the property of Cuestiones Teologicas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article uses Henri Lefebvre's Rhythmanalysis as a foundational text for researching boredom, and offers a critical analysis of UK-based media commentaries about boredom and homeworking written during 2020 and 2021. We situate the discussion within the rhythmic rupture caused by the COVID-19 pandemic and foreground rhythm as a lens for understanding reported experiences and reflections on boredom and work. For non-essential workers, lockdown offered an opportunity to reconfigure working lives away from the constraints of commutes and everyday work settings, yet our findings highlight the narrative representation and experience of a particular type of boredom and inertia known as acedia. The analysis discusses the presence of acedia and absence of rhythm across three themes: acedia and being stuck in time and space; embodiment, movement and rhythm; and the relationship between the present and the future. We conclude by considering what the experience of boredom might mean for how we reconceptualise our post-pandemic working lives. [ABSTRACT FROM AUTHOR]

The article makes the case for David Foster Wallace's The Pale King as a literary intervention into the American ethos of productivity, which offers a critique of this ethos by exploiting the trope of acedia, or boredom. Wallace's novel employs acedia as the mode of its subjectivity and its main theme, thus creating a unique, recursive aesthetics, which is resistant to "productive" interpretations. Following Wallace's own vocabulary, I call this aesthetics "the aesthetics of the feedback glare." As a result of its recursive dynamics, the novel creates a series of micro-events. They can be classified as what Lauren Berlant calls "self-interruptions": the events that guard the heterotopic territory of the subject's (as well as the author's) agency against interpellative calls of the book industry for self-exploitation and productivity. [ABSTRACT FROM AUTHOR]