enough affirmative provocations to invite future debate. The aforementioned episode of Twin Peaks ends with a repulsive, oversized, insect-like creature, also awakened by the Trinity bomb test, crawling toward a sleeping girl perceived to be Sarah Palmer. After hearing the supernatural Woodsmen’s address, her mouth opens, and lets the evil in. These two images map onto Matheson’s research concerns—the uncanny call of the Real, and the subject’s unconscious enjoyment thereof. If the show is any indication, then fantasies of the nuclear age, anxieties over alterity, and the allure of the unspeakable horror of the Real are ever-present even today. To that end, Matheson’s call for rhetoric as “teratology,” or the monstrous sublimity of a world which “bites back” (124) against our attempts to comprehend it is a rich vein for continued research. If Matheson continues seeking out which fresh horrors provoke new theorizations for psychoanalysis and rhetoric alike, the field will be all the richer.

中文翻译：

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再次让美国模因：另类右翼的修辞

足以引发未来辩论的肯定性挑衅。前面提到的双峰事件以一个令人厌恶的、超大的、类似昆虫的生物结束，它也被三位一体炸弹测试唤醒，爬向一个被认为是莎拉·帕尔默的熟睡女孩。听到超自然樵夫的讲话后，她张开嘴，让邪恶进来。这两个图像映射到马西森的研究关注点——真实的不可思议的呼唤，以及受试者对它的无意识享受。如果该节目有任何迹象，那么即使在今天，对核时代的幻想、对他异性的焦虑以及真实的无法形容的恐怖的诱惑也一直存在。为此，马西森呼吁修辞学是“畸形学”，或者说是一个“咬回”（124）反对我们试图理解它的世界的可怕崇高，这是继续研究的丰富脉络。