Cuban Miami on the Air: Narratives of Cubanía

Radio has been a fundamental aspect of Cuban culture on and off the island since the first broadcast in Havana in 1922. When Cubans fled the island after the revolution of 1959 for the USA, particularly Miami, radio quickly became a vital medium for navigating a new country and for consolidating a Cuban exile identity. Politically, radio in Miami has been an effective means for articulating hardline exile politics. But with generational turnover and increasingly moderate stances on Cuba by more recent arrivals and US-born Cuban Americans, how is radio changing? How are narratives of what constitutes cubanía – Cubanness – shifting in an increasingly diverse Cuban Miami? This article takes up these questions through an examination of an immensely popular morning program that aired in 2009 in southern Florida called the Enrique y Joe Show. I examine how the Enrique y Joe Show, produced and performed by US-born Cuban Americans, utilized a form of irreverent Cuban humor called choteo to represent and satirize the hardline Cuban exile politics that have been dominant on Miami's radio waves for decades. Ultimately, their performances deploy choteo to articulate Cuban American identity divorced from a particular political orthodoxy. The coda reflects on changes in Miami's radio landscape since 2009.     

Spain's love affair with Russia: the attraction of exotic (Br)others

This article examines a specific case of identification and desire between two countries at the extremities of Europe. In a cultural love affair located largely in the imaginary, Russia constituted a desired and exotic brother for Spain, while its revolution provided the possibility of a realistic engagement with a different culture. Central to these writings is the figuring of Russia as the exotic woman. In the travel writings, despite periodic attempts to figure women as individuals, non‐essentialised, and newly formulated in their post‐revolutionary situation, we find that the myth of woman as flesh, groundedness and the repository of positive experience is presented with insistence.     

Cuba's Cinematic Élan Vital: Cubanidad and Cubanía as Citizenship and Sentiment

This article focuses on the current shifts in expressions of Cuban national identity by considering the articulations of cubanidad and cubanía in recent documentary films from Cuba's Muestra joven. Rather than suggesting a disappearance or deterioration of national identity, these three examples of contemporary Cuban cinema evidence a more fluid, sentiment-based articulation of Cubanness that can be considered the island's élan vital. This analysis of representations of the ongoing transformation of Cuba deploys theories and terms conceptualised by Georg Sorenson in The Transformation of the State: Beyond the Myth of Retreat (2004) in order to posit how cubanidad is aligned with the modes of citizenship (the official), which is a sense of Cubanness defined by a rationality that may be imposed, while cubanía is affined with a sentiment fuelled by intuition (the personal). Thus we propose that just as the Muestra joven embodies the current vacillation and movement of Cuban cinema between citizenship and sentiment, so deMoler (Muestra 2004), Model Town (Muestra 2007) and La Época, el Encanto y Fin de Siglo (Muestra 2000) indicate a process of reinterpretation and rupture in a context of flux instead of rigidity.     

The Rise and Rise of Ecofeminism as a Development Fable: A Response to Melissa Leach's ‘Earth Mothers and Other Ecofeminist Fables: How a Strategic Notion Rose and Fell’

This contribution offers a response to Melissa Leach's paper ‘Earth Mothers and Other Ecofeminist Fables: How a Strategic Notion Rose and Fell’, published in an earlier issue of Development and Change. Leach's article examined the rise and fall of the figure of ‘woman as natural environmental carer’ in environment and development discourses. Specifically, it appeared concerned with the role of ‘the northern ecofeminist’ in popularizing this figure, and the notion that women have a special relationship with the environment. This response points to the reliance on the figure of the ‘northern ecofeminist’ as a foil to gender and development (GAD) discourses, and situates this anxiety over the figure of ‘woman as natural environmental carer’ in the context of some key feminist debates of the 1990s. Conflicts between GAD scholars and ecofeminists can be understood as one manifestation of tensions over essentialism in feminism. Attending to how conflicts over essentialism have been worked through in feminism could productively inform efforts to think through the nexus of gender, environment and development.     

The Survival of Words: Revolution and Class Struggle

How did Kirchnerismo, initially a motley coalition of progressive Peronists and born-again Menemistas and Duhaldistas trying to scrape together some form of governability from the 2001 default, turn into one of the ‘pink tide’ governments most virulently hated by the Right? Why did long-forgotten concepts and terminologies from the epic past of revolutionary struggle suddenly resurface in the context of what, at least from the viewpoint of the autonomist Left, was hardly more than a mildly redistributive administration of scarcity, aided by the post-millennial commodity boom? In this intervention, historian Javier Trímboli urges us to take seriously some of the discursive anachronisms that flourished during Néstor and Cristina Kirchner’s periods in office (2003–2015), which, he suggests, rather than merely a form of discursive cover for clientelist politics, may have been symptomatic of the way in which some of the foundational fault-lines of modern Argentine society continue to shape political identities, styles and forms of struggle in the present.     

An Army of Educators: Gender,Revolution and the Cuban Literacy Campaign of 1961

The conventional scholarly narrative of gender in post‐revolutionary Cuba is that the revolutionary government prevented the emergence of an expressly feminist movement by addressing women's basic needs and simultaneously eliminating autonomous space for female organising. Recent scholarship has increasingly considered women's participation in revolutions in order to understand women's roles in post‐revolutionary societies. Looking beyond armed insurrection for instances of female participation in revolution, this article considers women's roles in the Cuban Literacy Campaign. An analysis of the testimonies of female former volunteer teachers and of the official rhetoric and content of the campaign suggests that the broader narrative of cooption, while certainly accurate overall, threatens to obscure instances in which women did challenge traditional gender norms in meaningful ways. This paper argues that the Cuban Literacy Campaign and the participation of women in that campaign significantly impacted Cuban patriarchal culture at a crucial moment of consolidation for the revolutionary regime. In other words, though the male‐led revolution did not give women the space to organise against patriarchy, by actively participating in the revolution, women did help change the nature of Cuban patriarchy.     

Historical duty,palimpsestic time and migration in the Decade of Centenaries

Abstract

This article analyses Sonya Kelly’s How to Keep an Alien (Dublin Tiger Fringe, 2014) and ANU Production’s Vardo (Dublin Theatre Festival, 2014) in relationship to the performative backdrop of the Irish Decade of Centenaries (2012–22) and a series of key extra-theatrical political events have that featured asylum seekers and migrants prominently in Ireland and to a limited extent in Europe at large from 2012 to 2015. Both theatrical productions centrally engage tropes of Irish national memory vis-à-vis engagement with migration through a primary focus on women’s stories and premiered against the backdrop of the Decade of Centenaries. How to Keep an Alien and Vardo’s embrace of what M. Jacqui Alexander terms “palimpsestic time” and their critical focus on gender during this moment of the Decade of Centenaries models a theatrical dramaturgy that aids in reading key theatrical and extra-theatrical events featuring asylum seekers and migrants against one another. These works reveal the relationship between these events and the ongoing redefinition of Irish national memory and political community, a process thrown into sharp relief by the present commemorative mode. They insist that a turn to the past is inseparable from querying the lived political structures of the present, structures that have repeatedly displaced as well as instrumentalised the bodies of migrant women from the post-inward migration of the mid-1990s onwards.     

Unrolling time. Christiaan huygens and the mathematization of nature

At the end of the eighteenth century, the new revolutionary authorities in France made history one of the most important school subjects in their central schools. In order to teach this subject, the revolutionaries prescribed all teachers to use Claude-François-Xavier Millot's Élémens d’histoire générale (1772-1773). In this article, the characteristics that molded the narrative of this textbook will be analyzed. What form did the composition of this book, especially recommended because of its ‘philosophical plan’, take? How did its historiography relate to that of other enlightened historians such as Voltaire, Montesquieu, Mably or Goguet? And how was it that Millot's textbook was still considered useful for history teaching almost twenty years after its publication date?     

Constructed Revolutions: Cinematic Representation of the Spaces of Politics—Ankara: Serdce Tureckii

Abstract: The intricate relationship between the cinematic representation of modernist ideologies and their spatial attributes is part of any political program and finds its concrete manifestation in Modern historiography. The new capital city of the Turkish Revolution renders a similar trajectory through which the city itself, Ankara, becomes almost an instrument of that ideological construction through the gaze of revolutionary cinema. However, what is most striking in this historical remaking is the intrusion of the third party, that of the Soviets of the 1920s. Playing a central role, the Soviets not only politically anchor into the Anatolian geography but also aid the ruling elite in their collective effort to fabricating an amnesic environment, all embedded in Modernist architecture and urbanism. Filmed and directed by Yutkevich himself, Türkiye’nin Kallbi Ankara, in this respect, revisits half a century long debate on how representation and ideology coexists in urban space.     

Experiments in political truth

This article begins with that classic question of revolutionary politics: ‘What is to be done?’ Its concern is not, however, the provision of a coherent answer, nor the designation of a future to be reached. It traces instead the spirit of asking – the call to critically engage the present as a platform for action. This is to understand politics as active thought: as an art or craft rather than the mastery of certain theories. A responsive, interruptive subjectivity is, I argue, at the heart of Inqilab Zindabad [Long Live Revolution] – the famous slogan of the Hindustan Socialist Republican Association (HSRA). But what does it mean to commit to revolution in perpetuity? What form does this militant life take in the present? Outlining the contours of post-WWI north India, I consider how the revolutionary comportment evoked by Bhagat Singh and his comrades constitutes a potentiality outside of futures, founded on a relationship with the ‘truth’ of a given present. This problem-space opens into a conversation on the resonant appeal of this ‘way of being’ in politics – its tropes of sacrifice and partisan action – as well as the primacy of the gesture in the political lives and spectral afterlives of the HSRA.     

Jean-Jacques Rousseau on women and citizenship

This paper aims at understanding why Rousseau excluded women from citizenship. Citizenship, for Rousseau, is not a matter of right, not even a matter of behaviour (of how to behave individually to be a good citizen). It is a matter of social condition. How should society be constituted so that there can be citizens? The answer to this question is that there must be women in the private sphere so that there can be citizen in the public sphere. The paper begins with Montesquieu's model of the republican condition of women, considers the way Rousseau updated this model, and concludes with the idea, that much more than the male figure of citizenship (which remains a stereotype), the woman, in Rousseau, is the true figure of modernity.     

Gendered spheres: theorizing space in the English printing house

The English printing house was initially conceived, legally, as a printing house, with public work taking place in a private setting. This private space emphasised the traditional hierarchies of political and legal order: Women’s work that took place within the printing house thus fell into the traditional role of household labours. This erasure of labour is one that foregrounds the erasure of women’s writing from history; women who worked in essence as publishers, as printers and booksellers, are very clearly present in the historical records but invisible in our narratives of book history. How did this erasure happen, and why is their presence, and work, overlooked? If we consider the language of space in theory and reread Moxon’s Mechanickal Exercises closely, we see the ways in which the ideas of space itself can be implicitly gendered, and how this might shape our idea of the printing house.     

Crafting the ��New Woman�� in China��s left-wing cinema of the 1930s: Sun Yu��s three films

“New Woman” and “Modern Girl” discourse prevailed in China in the early twentieth century. The left-wing cinema of the 1930s engaged in this discourse and created a filmic space in which to negotiate gender and modernity. Focusing on three films directed by Sun Yu (1900–90): Wild Rose, Little Toys and The Highway, this paper compares Sun Yu’s new women with those in two other films: Lessons for Girls, a lesser known but interesting caricature of “new” women, and the New Woman, the best known of the “new woman” genre, both of which depict how urban, petty bourgeois women failed in their struggles for independence. In sharp contrast, Sun Yu used poetic realism to create a series of refreshingly independent working class women characters that successfully combined traditional moral values and modern patriotism and resisted the radical anti-traditionalism of the new woman discourse. This paper offers a differentiated analysis of the diverse and complex ways in which China’s left-wing cinema negotiated gender and modernity in the 1930s.     

Francis Slade on Political Forms and Their Formation

The task of the article is to introduce the reader to one of the essential teachings of Francis Slade's understanding of political philosophy. After a brief presentation of why Slade examines political philosophy through the lens of form and what the principal political forms are, this article presents the form of premodern political philosophy by explicating what of its fundamental teachings modern political philosophy rejects and denies. The remainder of the work presents the modern form of the political by means of tracing the essential moments of the genesis of this form in Machiavelli's Prince and in Hobbes’ Leviathan. The argument focuses primarily on their revolutionary understanding of the human condition and its need to be transformed, or how man is no longer understood as a political animal and has necessarily become the subject of the state.     

La Quintrala's Confessions: The Contesting of Female Agency and Indigeneity in Two Popular Chilean Visual Narratives

Doña Catalina de los Ríos y Lisperguer, known as ‘La Quintrala,’ a seventeenth-century aristocratic woman of mixed ancestry accused of torture, witchcraft, and murder, has persisted as a recurring figure in the Chilean imaginary. While literary representations of this figure have been well explored, this article contributes an examination of two visual narratives, paying particular attention to the manner in which genre and context influence the repurposing of this violent woman: the 1986 teleserie La Quintrala, produced by Chile's state-owned television station (TVN), and the Chilean newspaper Las últimas noticias's 2008 comic ‘La Quintrala y el Cristo de Mayo.’ The teleserie, a product of the Pinochet era, positions her as an antithesis to the ideal Chilean woman, simultaneously denying her agency and condemning her. The comic echoes the rhetoric of the Concertación governments as it prominently links La Quintrala's downfall and redemption to the genesis of modern Chile at the cost of her distinctive racial and gendered characteristics. Ultimately, each work employs the structure of confession to recall her crimes while rejecting the female agency and racially mixed heritage La Quintrala represents.     

Immermann's Münchhausen and the Post-Romantic Predicament

This article analyzes Cuban novels Memorias del subdesarrollo (1965) by Edmundo Desnoes and Livadia (1999) by José Manuel Prieto in the context of two epochal historical events: the Cuban revolution and the Cuban postrevolution (or the beginning of the so-called Special Period). The essay explores the political precariousness of transitional regimes from three different points of view: epistemological, ideological, and emotional. I argue that transitional periods call for new modes of representation where the past and the uncertainty of the future coalesce to form nihilistic spaces, or to open up the possibility for new modes of narration.     

Crusading in Africa: Religion,Race, and Post-9/11 Intervention in Antoine Fuqua’s Tears of the Sun (2003)

Abstract

African American director Antoine Fuqua’s Tears of the Sun, a 2003 war ?lm made with US Navy cooperation, imagines the intervention of Navy SEALs in an ethnic cleansing being conducted against Christians by Nigerian Muslims. It is at once an exercise in black diasporic consciousness and an expression of American exceptionalism. The director aimed to raise awareness of contemporary African crises, but the picture is also the closest Hollywood combat cinema came in the immediate post-9/11 years to addressing and endorsing the polarizing discourse and militarism of the Bush administration. The ?lm’s use of reductive religious imagery, its weak box of?ce return, and its generally hostile reception overseas expose its failure as a tool of diplomacy and reveal the waning ability of triumphalist Hollywood cinema to de?ne or explain the ‘War on Terror’.     

The Buddhist Ineffable Self and a Possible Indian Political Subject

ABSTRACT

It is well known that the sovereign, the cakkavatin, in India is the one who turns the wheel of dhamma. What is not so well appreciated is that the Buddha’s dhammachakkapabbatana, the turning of the wheel of dhamma and the attainment of nibbana, can be read as a political act, involving the emergence of a political subject. It will be seen that the 4th Century AD Buddhist philosopher Vasubandhu’s vijnanavadin notion of the Ineffable Self (anavilapya atman) helps us unravel the epistemological underpinnings of the political subject in consonance with the revolutionary act of turning the wheel of dhamma. Seen in this light, we can better appreciate B. R. Ambedkar’s attempt at treating Buddhism as the “Revolution” against the Brahminical “Counter-Revolution,” something whose implications unfold almost daily in India’s political struggles. What can be called (in academic-speak) Buddha’s “pluralist non-essentialist framework,” even a convergence of sorts between Buddha and Spinoza, does not necessarily exclude the notion of a revolutionary political subject. This opens up the possibility of reading Buddha's notion of the turning of the wheel of dhamma alongside more recent ideas of revolution as another turning and churning.     

Uncrowned kings: rituals and ritual objects in eighteenth–nineteenth century Portuguese royal acclamation ceremonies

ABSTRACT

This article examines the royal acclamation ceremonies of the Portuguese crown in order to grasp the responsiveness of the institution of the monarchy and regime to the challenges of modernity throughout the delicate watershed period of the late eighteenth and nineteenth centuries. The Portuguese Catholic and absolutist monarchy of the ancien régime had a strict protocol and a set of insignia of power that acted together at the moment of the acclamation and legitimation of each new king. The purpose of this research is to assess the adaptation and reinvention of these insignia and rituals according to the revolutionary demands of social change and secularization brought about by the turbulent period of the beginning of the nineteenth century: the French military invasions (1807–11); the departure of the royal family, court and administration to Brazil (1807); the liberal constitutional revolution (1820); and the civil war pitting liberals against absolutists (1832–34). The new constitutional monarchy that came out of this revolutionary flow faced many challenges of legitimacy, including the test of its capacity to create a modern royal imaginary updated to the cultural mindset of national and secular societies, and capable of bonding rulers with their people. The authors believe that the study of the acclamation ceremonies in the Portuguese constitutional monarchy can give us an accurate perspective on the quality of the symbolic image of the crown, therefore assessing the political efficiency of rituals as one of the structural aspects for institutional legitimization.