The public playground paradox: ‘child’s joy’ or heterotopia of fear?

ABSTRACT

Literature depicts children of the Global North withdrawing from public space to ‘acceptable islands’. Driven by fears both of and for children, the public playground – one such island – provides clear-cut distinctions between childhood and adulthood. Extending this argument, this paper takes the original approach of theoretically framing the playground as a heterotopia of deviance, examining – for the first time – three Greek public playground sites in relation to adjacent public space. Drawing on an ethnographic study in Athens, findings show fear to underpin surveillance, control and playground boundary porosity. Normative classification as ‘children’s space’ discourages adult engagement. However, in a novel and significant finding, a paradoxical phenomenon sees the playground’s presence simultaneously legitimizing playful behaviour in adjacent public space for children and adults. Extended playground play creates alternate orderings and negotiates norms and hierarchies, suggesting significant wider potential to reconceptualise playground-urban design for an intergenerational public realm.     

‘We are of the connections’: migration,methodological nationalism,and ‘militant research’

Abstract

If there were no borders, there would be no migrants – only mobility. The persistent reification of migrants and migration – even in critical migration studies –(re-)fetishizes and (re-)naturalizes the epistemological stability attributed to the (‘national’) state as a modular fixture of geopolitical space. In this regard, migration scholarship (however critical) is implicated in a continuous (re-)reification of ‘migrants’ as a distinct category of human mobility. Thus, the methodological nationalism that rationalizes the whole conjuncture of borders-making-migrants supplies a kind of defining horizon for migration studies as such. The dilemma of methodological nationalism has never been merely a problem of thought, however. It is indeed a manifestation of the veritable participation of researchers and scholars – whether consciously or unwittingly – in the very same sociopolitical processes and struggles through which the ‘national’ configuration of ‘society’ (or, the social field) is reified and actualized as the territorial expression of state power. Therefore, the questions of methodological nationalism and what might be called ‘militant research’ are deeply interconnected, indeed, mutually constitutive. As scholars of ‘migration’ – and above all, as practitioners of ‘militant research’ – we must attend to a self-reflexive critique of our own complicities with the ongoing nationalization of ‘society’. Hence, as researchers or scholars of migration, we are indeed ‘of the connections’ between migrants’ transnational mobilities and the political, legal, and border-policing regimes that seek to orchestrate, regiment, and manage their energies. We are ‘of’ these connections because there is no ‘outside’ or analytical position beyond them. The larger juridical regimes of citizenship, denizenship, and alienage configure us to be always-already located within the nexus of inequalities that are at stake in these conflicts.     

'[…;] all poetry is difficult […]: the limitations of Seferis' modernist poetics

Abstract

In Greece, as in several other countries in the period between the two World Wars, one of the serious charges frequently made against Modernism was that it was impossibly bad mannered towards the reader – that it made no effort at all to communicate and that modernist poetry was ‘difficult’ or ‘obscure’. For example, as early as 1931, Kostis Palamas – the poet who had had an enormous impact on Greek literary affairs in the first half of this century – in a charming if not somewhat condescending letter addressed to George Seferis, noted that the poems of <inline-graphic href="splitsection4_in1.tif"/>were ‘cryptographic’ and stated that he was personally unable to find the ‘key’ that was needed for deciphering such difficult poetry (Palamas 1931). A few years earlier, Seferis himself had noted in his journals that whenever he tried to read Valery's poems to Palamas and his circle, they had reacted by saying that they did not have time to solve ‘puzzles’ (1975: 62).     

The Greek Communist Party (KKE) and the Greek-Italian War, 1940–1: an Analysis of Zahariadis' Three Letters

Abstract

An analysis of the position of the Greek Communist Party (KKE) during the Greek-Italian war is interesting not only because it involves a hitherto unsolved puzzle – how and why the KKE's General Secretary, Nikos Zahariadis, wrote his ‘three letters’ – but also because, it involves background factors that help explain how the KKE emerged, during the occupation period, in possession of an invaluably useful ‘patriotic’ image. Such an image, obtained from Zahariadis' ‘first’ letter, undeniably facilitated the party's successful efforts to build up the country's largest liberation movement (EAM) and, through this movement, to come close to capturing power during the years 1943–4.     

Critical heritage studies and the legacies of the late-twentieth century heritage canon

ABSTRACT

In recent years an interest in ‘critical heritage studies’ (CHS) has grown significantly – its differentiation from ‘heritage studies’ rests on its emphasis of cultural heritage as a political, cultural, and social phenomenon. But how original or radical are the concepts and aims of CHS, and why has it apparently become useful or meaningful to talk about critical heritage studies as opposed to simply ‘heritage studies’? Focusing on the canon of the 1980s and 1990s heritage scholarship – and in particular the work of the ‘father of heritage studies’, David Lowenthal – this article offers a historiographical analysis of traditional understandings and approaches to heritage, and the various explanations behind the post-WWII rise of heritage in western culture. By placing this analysing within the wider frames of post-war historical studies and the growth of scholarly interest in memory, the article seeks to highlight the limitations and bias of the much of the traditional heritage canon, and in turn frame the rationale for the critical turn in heritage studies.     

The Tenco effect. Suicide,San Remo,and the social construction of the canzone d'autore

Abstract

Canzone d'autore is an indigenous expression that has no precise equivalent in other languages. Its social use identifies a genre of popular song that presuppose the existence of an ‘autore’ taken in its most vigorous sense, meaning a ‘creator’, an ‘artist’– but how did this claim to artistry originate? How did it insinuate itself into the world of song, a genre that by definition belongs to the realm of what is traditionally called in Italian ‘musica leggera,’ with unmistakably pejorative connotations? In this essay, I will put forward a sociological interpretation of the genesis of the canzone d'autore, using as a strategic conceptual device the idea of cultural trauma. The traumatic event that I propose to explore, making use of this concept and its analytical machinery, is the suicide of the singer-songwriter Luigi Tenco during the seventeenth San Remo ‘Festival della Canzone’ (‘song festival’) – that is the best-known, most controversial, and most influential single event in the field of Italian ‘musica leggera’, an annual event regularly attended every year – via radio, television, or audience participation – by millions of Italians. Through a reconstruction of that suicide and above all of the public and dramatic events that followed in response to it, the paper examines the social process that transformed an individual tragedy into a collective, social drama, a process that not only produced a new musical classification, but also a new cultural and aesthetic category.     

Greek nationhood and ‘Greek love’: sexualizing the nation and multiple readings of the glorious Greek past

The paper addresses the ways in which the idea of homosexuality has been expelled from local dominant narrations about the Modern Greek nation and seeks to culturally frame this historical erasure. The ancient past and Ottoman rule are viewed as the two key moments of negotiating (and repeatedly placing in oblivion) any link between ‘Greekness’ and homoeroticism. Placing this institutional silence in juxtaposition to multiple Western readings of ‘Greek love’, the study provides ethnographic instances that reveal the appropriations of the Western gaze and moments of breaking the silence about Greek homosexuality. Selected individuals and cultural locales serve as terrains of negotiating the present-day Greek state's façade as cosmopolitan, Western and post-modern. On the one hand, Greece is perpetually re-constituted as a topos, appropriate(d) for projections of varying versions of history-telling from Western and local agents alike; on the other hand, homoeroticism is being negotiated through consecutive articulations of Greekness in past and present tense.     

Other messages,other missions; or,Sahlins among the Melanesians

Responding to a number of developing critiques, Sahlins (1991) has recently adapted his ‘structural history’ model to accommodate endogenous change in pre-colonial conditions. His reformulation, however, critically restricts the model's applicability to mythopraxis of a specific sort, viz. the historical actions of divine heroes in societies structured along Dumontian lines of ‘hierarchy’ as supposedly exemplified in Fiji and Polynesia generally. This article examines certain implications of this new structural history – particularly Sahlins's revision of the ‘structure of the conjuncture’ notion – by analyzing a case of relatively late historical contact and change involving exogenous Europeans as well as Melanesians (i.e. the later phases of the so-called Yali movements of post-World War II Papua New Guinea). Here, neither ‘heroic history’ nor ‘hierarchy’ as Sahlins has incorporated them into his new model are evident. What is apparent instead is a dialectical interplay of articulated messages and enacted missions on the part of a complex and shifting multiplicity of both expatriate as well as indigenous constituencies.     

Intangible cultural heritage and the better angels of folklore’s nature

Abstract

Folklore research in the United States typically is completed either through academic departments or in organisations designed to create public presentations of traditional expressive culture. These two approaches are termed ‘academic folklore’ and ‘public folklore’. The intellectual history of both approaches has recently been critiqued. One result of this deconstruction is an ambivalence over the historical legacy of key concepts in the study of folklore. Assessing elements of the critical study of folklore’s history – in both academe and the public sector – suggests opportunities for reconstituting the study of traditional culture to establish a more socially responsive approach that is relevant to ways that heritage professionals assess folklore as intangible culture heritage.     

The First Arab Expedition against Amorium

Abstract

The chronology of Byzantine history in the middle of the seventh century is obscure and confused. Among the unsettled problems is the date of the early Arab raids into Asia Minor after the Arabs completed their conquest of Palestine and Syria in 640. The scanty Greek and Oriental Christian sources need supplementation from the Arabic ones. Although Charles C. Torrey published his edition of the Futū Mir or History of the Conquest of Egypt, North Africa and Spain by Ibn ‘Abd al-akam more than fifty years ago, Byzantinists do not appear to have consulted the important section on Egypt which has not been fully translated into a western language. Yet Ibn ‘Abd al-akam, who was born c. 798–9 and who died in 871, is a significant and early historical authority. He provides a short reference to an Arab expedition against Amorium in the year A.H. 23 (A.D. 644): ‘ … according to Layth b. Sa‘d [and] he said 'Wahb b. ‘Umayr was commander of the forces of Egypt in the Amorium expedition [fī ghazwati ‘Ammūriyata] in the year twenty-three and the commander of the forces of Syria [was] Abu‘l-A‘war al-Sulamī’.’     

The good and the bad of the same: On the political value of historical repetition in Angola

ABSTRACT

In this article I discuss processes of investment in historicity as an ideological, political and moral problem. Focusing on the study of religious and political movements in Angola, I address the problem of historical repetition as a form of ‘acting upon time’ which, in similar terms to Walter Benjamin’s citation a l’ordre du jour, contests the idea of temporal irreversibility. I propose that this contestation is multiplex and can produce ‘good’ as well as ‘bad’ historical repetitions.     

Eric Bogle’s No Man’s Land and the grave of Willie McBride at the Somme

ABSTRACT

Eric Bogle wrote No Man’s Land in 1975. When it was released as The Green Fields of France by Davey Arthur and the Fureys in 1979 the song topped the Irish charts, while as far away as Australia it was declared one ‘of the most striking musical essays yet written on the futility of war.’ Yet No Man’s Land has been associated with controversy too: branded a rebel song in Ulster during The Troubles, singled out by Tony Blair as a ‘peace anthem’ and prelude to the Good Friday Agreement in 1998, and controversially chosen by the Royal British Legion for the Poppy Day appeal in 2014. In addition to exploring the ‘complex relations between cultural and political history’ in Ireland, this article also looks at the making of the documentary film ‘Eric Bogle: Return to No Man’s Land’ (by Dan Frodsham) in which Bogle returned to the grave of Willie McBride on the 100th anniversary of the Battle of the Somme to recite his poem to the now famous Inniskilling. To Bogle’s surprise the grave had become a pilgrimage site for this, an entirely fictional, Irish martyr created then immortalized in his own composition written four decades earlier.     

Symbolism and Irony in Three Novels by Kosmas Politis

Abstract

In a recent book, Mario Vitti has described Kosmas Politis as ‘emotionally the most highly charged novelist’ of the Generation of 1930. Vitti also points out that Eroica is ‘compositely organized down to the minutest detail’, despite the author's assertion that he wrote each instalment ‘on the presses’. In an attempt to account for the ‘magical’, ‘Poetic' quality of Politis’ writing as pointed out by Greek critics, Vitti investigates Politis' use of irony and of the interior monologue. My purpose in this article is to examine further Politis' ironical approach and to make some preliminary remarks about his use of symbols and imagery (a subject on which far more work has to be done), in the hope that, in so doing, I shall shed some light on the ‘emotionally charged’ and ‘highly organized’ nature of Politis' writing. For reasons of space and time I must confine myself to his first three novels, Lemonodasos (1930), Hekate (1933) and Eroica (1937).     

The Influence of Katharevousa on the Phonology of Modern Greek

Abstract

Much has been written on Greek diglossia and the language struggle (between katharevousa and dhimotiki ). Defenders of katharevousa have emphasized the importance of the language's roots in ancient Greek, opponents of katharevousa have emphasized the idea that the Greek language should be first and foremost ‘the language of the people’. More recently, the focus of the discussion has shifted to what constitutes ‘true’ dhimotiki and the extent to which certain katharevousa elements are acceptable to the modern language; see for instance G. Babiniotis, <inline-graphic href="splitsection5_in1.tif"/><inline-graphic href="splitsection5_in2.tif"/>(Athens 1979) and A Linguistic Approach to the ‘Language Question’ in Greece (BMGS 5, 1979), E. Kriaras' reactions to Babiniotis' views in his ‘<inline-graphic href="splitsection5_in3.tif"/><inline-graphic href="splitsection5_in4.tif"/>(Athens 1979) and Mesevrinos' H <inline-graphic href="splitsection5_in5.tif"/><inline-graphic href="splitsection5_in6.tif"/>(Nicosia 1973). All of these writers are more concerned with determining what should be considered correct or acceptable to the modern language than with analysing actual usage. In general, very little of the discussion is concerned with the spoken language. M. Setatos' article (<inline-graphic href="splitsection5_in7.tif"/><inline-graphic href="splitsection5_in8.tif"/>1973) is particularly interesting because it sets out to analyse the place of katharevousa in the modern language (both written and spoken) rather than arguing for or against katharevousa. Setatos has also written the most detailed analysis of modern Greek phonology (<inline-graphic href="splitsection5_in9.tif"/>, Athens 1974). Other interesting articles on katharevousa elements in the spoken language have been written by Philippaki-Warburton, Tsopanakis, and Petrounias. However, there has in fact been scarcely any empirical research on modern Greek phonology and the extent to which spoken Greek has been influenced by katharevousa. It is perhaps understandable, given the social and historical context, that there has been so much emphasis on theory; the priority has been establishing norms on an acceptable theoretical basis, in the midst of the confusion caused by diglossia, and the question ‘what is actual practice in spoken Greek now, at the end of the twentieth century?’ has had to wait.     

Die kinder des Thyestes∗

Eclogue 6 is not odd, as alleged. Gallus fits the convention of Roman poets in Arcady. The Silenus song is generic, with various Greek antecedents. Silenus himself is drawn with humour, a neglected feature; his Lucretian tone may parody or pay tribute to that poet. Virgil is fond of singing mythological creatures. There is much linguistic‐thematic interplay with his other poetry. Eclogue 6 is studiedly pastoral, a synthesis of ingredients, beginning and ending with Virgil himself ‐ ‘Vir‐gilian’ is the appropriate label.     

Mapping the soft city: using cognitive mapping to respond to London-based literature and explore the construction of teenage place-related identity

ABSTRACT

Raban (1974. Soft City: What Cities Do To Us, and How They Change the Way We Live, Think and Feel. London: Hamish Hamilton, 2) distinguishes between the ‘hard’ city of statistics and maps, versus the ‘soft’ city of the ‘creative play of urban living’, ‘an art’ which enables urbanites to mould cities in their desired image. This case study reviews approaches to conceptualising urban space, exploring practical tasks through which London students can engage with, and write about, their place-related identities in order to enhance their readings of the rich range of literature set in their city. Developing an unconventional approach to teaching two A-level (16–18 years old) English Literature coursework texts – John Gay’s (1716) Trivia and Geoff Nicholson’s (1997) Bleeding London – it was hoped that students might be helped to ask whether a comprehensive (‘hard’) knowledge of London can ever be achieved. This case study is primarily an account of the students’ own London maps, a creative task designed to help them engage thematically with the coursework texts.     

Ancient Greek Myth in Angelos Sikelianos

Abstract

In the introduction to Angelos Sikelianos: Selected Poems, the translators speak of Sikelianos's ‘mythological attitude … toward life’ and of his conception of myth not so much ‘as a rhetorical or metaphorical device but as a spontaneous creation of the human soul directed toward the revelation of a hidden spiritual life’, in short, of mythology as a kind of religion closely related to Schelling's perception of the function of myth. These remarks, written originally some years ago, may have their just proportion of truth, but in keeping with most introductory remarks, they strike me as rather too general, rather too undiscriminating when one brings them face to face with Sikelianos's practice at different moments of his career. I want to try to be more discriminating by considering the role of myth – specifically ancient Greek myth – in the poet's work both early and late in his career. I think it is a changing role, perhaps not in his fundamental association of gods with a contemporary landscape and his revelation of those mysteries that lie hidden in our everyday lives, but in the mode of this association and this revelation, and in the depth of their poetic significance.