Roland Barthes's Soirées de Paris : An alternative view of Parisian night life

This article concerns Roland Barthes's posthumously published Soirées de Paris , a text comprising a series of diary entries dating from the period shortly before the author's death. The article discusses the critical reception of this work in terms of two extreme positions; the first is that the publication of this text is an immoral act of voyeurism, whilst the second is that this text reveals the 'true' homosexual Barthes who was for so long repressed. The article does not concur with either of these views, but argues instead that Barthes's Soirées de Paris does not break radically with his previously published works, but rather develops and continues many of the main themes of his earlier writings, in particular the autobiographical preoccupations to which he had recently turned.     

In Search of an Invisible Culture in David Plante’s American Ghosts and Robert Cormier’s Fade

David Plante’s American Ghosts (2005) and Robert Cormier’s Fade (1988), autobiographical narratives about growing up in southern New England in French Catholic neighborhoods called Little Canadas, both employ the trope of invisibility to convey the ethnic community’s lack of presence, agency, or permanence within an englobing American culture that progressively erodes the foundations of its cultural otherness. Both texts hinge upon cultural erasure. In Plante’s memoir, in which he seeks to gain access to his cultural past, his childhood self is haunted by the ghosts of his Indian forebears and his adult self, by the ghosts of his parish. These supernatural beings who shuttle between absence and presence signal the loss of cultural memory and identity that assimilation engenders. Cormier’s novel chronicles the effects of invisibility on three “faders” representing first-, second-, and third-generation French Canadians in New England. A metaphor for the progressive loss of ancestral heritage in the adopted land, Fade offers a portrait of the gradual disintegration of Frenchtown from its heyday in the 1930s to its dissolution in the 1960s.     

Tradition as a governing theme in the writings of John Cassian

John Cassian has been criticized in recent scholarship for historical inaccuracy – but it is not self‐evident that his works were intended as histories in the sense that is supposed by that criticism. Instead, Cassian presents himself as the promoter of key traditions. This paper describes of Cassian's own thinking about ‘tradition’ as a key theme in his works. To that end, it aims to redress scholarly misgivings about the worth of Cassian's writings by taking them as the transmission of identifiable traditions into early to mid‐fifth‐century Gaul (rather than as documentary evidence for late fourth‐century Egyptian monasticism).     

Fragments of the Modern City: Material Culture and the Rhythms of Everyday Life in Victorian London

This essay analyses the influence of Charles Baudelaire's and Théophile Gautier's fetishist poetics on the early works of Algernon Charles Swinburne. If the crucial role played by the Victorian poet as a cultural ‘passeur’ between France and England has often been highlighted in recent criticism, his aesthetic delight in certain forms of sexual deviance such as podophilia has rarely been explored in relation to the verse of his French mentors. Swinburne, Gautier, and Baudelaire may have indeed shared this erotic fascination with feet: this is a fascination that was partly grounded in these poets' common interest in antique literary models, in particular in Sappho's poetry. Rather than extolling the Hellenic ‘sweetness and light’ which some of his contemporaries set so high, Swinburne indulged in dangerously eroticised Dionysian aesthetics which were perceived as both ‘too Hellenic’ and ‘too French’. I argue that the fetishism of the poetic foot may be read as one of the keys to the Victorian poet's subversive shift away from the serenity often associated with Victorian neoclassicism in favour of a Dionysian energy that anticipates Friedrich Nietzsche's works.     

Cool nothing: Dom Sylvester Houédard’s coexistentialist concrete poetics

ABSTRACT

This article concerns the concrete poetics of Dom Sylvester Houédard, which I define using a term from his 1963 article ‘Concrete Poetry & Ian Hamilton Finlay’, ‘coexistentialist’. Houédard's concrete poetry has sometimes been criticized for an anachronistic avant-garde quality, because of its non-semantic use of written language, and its associated air of intermedia experiment. But the term ‘coexistentialist’ has various connotations which allow us to interpret Houédard's work as highly responsive to its cultural moment, and to the unique theological tradition from which it emerged. These connotations include: the relationship between early and mid-twentieth-century modern art and literature; existentialist philosophy, especially the writing of Jean-Paul Sartre; Marshall McLuhan's theories on modern communication and ecumenical dialogue within the Catholic Church during the Second Vatican Council. After presenting an outline of Houédard's poetics related to these themes, I analyse some of his concrete poems or ‘typestracts’, produced between 1967 and 1972.     

Thoughtlessness: Rumsfeld in Washington

This review article considers the case of Donald Rumsfeld and his disastrous tenure as US Secretary of Defense (2001–2006), as recounted by Rumsfeld himself in his memoirs and other writings, and in interviews with the celebrated documentary filmmaker Errol Morris, for The unknown known (2014). In all of these works he appears completely unreconstructed; indeed, remarkably self‐satisfied. The article reflects on Rumsfeld as operator and courtier, and Morris's pursuit of a man without qualities, with reference to Hannah Arendt's notion of ‘the banality of evil’.     

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 strategic anthropologist

Ken Booth's Strategy and ethnocentrism, published in 1979, deserves to be promoted in scholars' esteem to the very small category of works regarded as classics about strategy. Three reasons serve to explain why, over the years, it never received the acclaim it merits: the relatively undistinguished publisher; ironically, the subsequent debate over more than a quarter of a century about culture as a factor necessary for the understanding of strategy; and the attractively accessible style in which Booth expressed himself. Strategy and ethnocentrism is witty and even occasionally amusing—characteristics apt to trigger a response of some disdain from over‐serious scholars. We can now assess Booth's book in its proper context, which is the long if very thinly populated history of strategic ideas, largely free of unduly distorting ‘presentist’ concerns. The fact that Strategy and ethnocentrism was written in the context of the Cold War really does not matter for the quality of its argument. This work is a classic because it speaks to all periods and about all participants in strategic history. The originality of Booth's treatment of culture does not lie so much in the realm of his grasp of its relative strategic significance, but rather in his relentless unwrapping of the actual, or certainly potential, harm, including unanticipated self‐harm, of ethnocentricity. Today, studies of culture and strategy are not in short supply, but works that compel readers to attempt to take due account of their own ethnocentric frailties are in desperately short supply.     

La prudencia de Cortés: teoría política y práctica retórica en la Historia de la conquista de México de Antonio de Solís

The Historia de la conquista de México, published by Antonio de Solís in 1684, and later extensively reissued and translated, has been praised for the ‘elegance’ and ‘sweetness’ of its style. From very early on these qualities made the Historia to be read as a prose model worthy of imitation. Different scholars have studied Solís's sources and the way he manipulated them on the one hand, and, on the other, the extent of the reliability of his account. However, very little has been said about the actual writing practices of the Historia in the context of contemporary historiographical theories, or the author's own ideas about history or politics. This paper analyzes how some of these rhetorical techniques (I particularly focus on the use of oratio figurata, sententia, and epiphoneme) gave shape to Solís's political ideas, in particular the concept of prudence.     

The ethico-politics of homo-ness: Beckett's How It Is and Casement's Black Diaries

In recent years, Beckett studies has taken an ‘ethical turn’ as critics have given increased attention to the status of the Other and otherness in the writer's oeuvre. How It Is, a key text for these critics, was written as Beckett was reading the newly published Black Diaries of Roger Casement, a volume that contains homoerotic content long considered scandalous for the Irish republican icon and yet offers a remarkable vision of social relations structured around sameness or what Leo Bersani calls ‘homo-ness’. Reading Beckett's novel alongside Casement's diaries reveals the significance of How It Is for thinking an ethico-politics that depends neither on the ideological foundations of the nation-state nor on critical perspectives that emphasise the primacy of difference, but rather on a fundamental reorientation of sociality. In this regard, Beckett's anti-redemptive narrative may be considered a work of penetrating utopian writing, which nonetheless reminds us of the hazards of utopian thought.     

James Arbuckle and Dean Swift: cultural politics in the Irish confessional state

James Arbuckle, born a Presbyterian in Belfast, educated at Glasgow University, moved to Dublin under the patronage of the radical Whig Viscount Molesworth. He arrived at the time of Swift's triumph as ‘The Drapier’. Writing under the name ‘Hibernicus’, he produced a series of essays in the style of Addison's Spectator (1725–26). They can be read as a ‘polite’ Whig critique of Swift's Irish writing, particularly on confessional division. Arbuckle was clearly identified as a political opponent of Swift in a series of lampoons from Swift's circle. He wrote more incisively against the confessional state in his 1729 work The Tribune, lost to historians because of a mistaken attribution to Swift's friend Delany. This article will study Arbuckle's critique of Swift, aiming to give an insight into cultural conflict, both Whig/Tory and Anglican/Presbyterian in a period when both Whig and Presbyterian views have generally been overlooked.     

Hans Kohn: the idea of secularized nationalism

More than seventy years after its publication, Hans Kohn's 1944 The Idea of Nationalism is still regarded as a ground‐breaking contribution to the study of nationalism. This essay is aimed to highlight a significant theme in this work which has largely gone unnoticed, namely, the pivotal role of religion and secularism in Kohn's account of nationalism, and especially, in his persistent struggle for a ‘perfect’ nationalism. Kohn's conception – and personal experience – of the relationship of nationalism and religion will be examined through several stages of his turbulent life. First, as a young Zionist in Prague, when he parlayed Martin Buber's Zionist creed into an ethnic concept of nationalism. Then, in Kohn's journalistic writing in the 1920s and in his first theoretical works on nationalism in the years 1929–1942. Finally, Kohn's more mature and crystallized account of nationalism in his 1944 book will be revisited from the perspective of the nationalism–religion relationship.     

Multiple multiculturalisms: insights from the Edinburgh Mela

This paper contributes to debates about the future of multiculturalism in Britain by exploring how it is conceptualized, constructed and experienced in contemporary Scotland. The work is grounded in Hall's (2000) important but commonly overlooked distinction between a ‘multicultural society’, which designates a condition of cultural diversity, and ‘multiculturalism’, which refers to processes and policies that attempt to fix the meaning of such diversity. As these definitions suggest, the abandonment of multiculturalism as a ‘policy failure’ cannot be a solution to problems arising from the complex composition of contemporary societies. The fact that all societies must make decisions about the significance of cultural diversity and its management—they must all practise some form of multiculturalism—is established through a review of how multiculturalism has been conceptualized and pursued to date. The paper then draws on the example of Edinburgh's South Asian Festival—the Mela—to explore the empirical complexities of these different applications in a Scottish context. An analysis of the Mela's changing organization and artistic programme over time reveals the coexistence of multiple conceptions of multiculturalism—in time, space and experience. This progressive reinterpretation of multiculturalism—as multiple—advances the goals of both cultural diversity and societal cohesiveness.     

Tourists,sailors and labourers: A survey of early labour recruiting in Southern Melanesia

Abstract

This essay explores missionary allegations about slave‐dealing in Fiji, and their acceptance by British officials, as cultural responses to sexual relationships between indigenous women and white men. It also examines the imperial implications of ‘the culture of anti‐slavery’, whereby rhetoric about the enslavement of non‐European women became a rationale for attempted legal intervention in the mixed‐race community of Levuka. Finally, it considers how humanitarian rep resentations were contested, then appropriated, by one of the objects of their disapproval: a ‘lawless’ white man from Levuka. William Nimmo's response to the anti‐slavery proclamation gives us valuable information about Levuka's growing self‐definition as a community, and its attempts to control behaviour within its ranks. Using the ‘Christianisation and civilisation’ argument as successfully as the missionaries had, Nimmo and his friends sought recognition and respect from British authorities who seemed biased toward the missionary point of view, while making their own bid for official support in Fiji.     

‘The Epitheatrical Cartoonist’: Matthew Somerville Morgan and the World of Theatre,Art and Journalism in Victorian London

This article examines the vibrant cultural milieu inhabited by one of Victorian Britain's most famous cartoonists, Matthew Somerville Morgan. Morgan is well-known as the cartoonist who attacked Queen Victoria's withdrawal from public life (and her associations with John Brown), and the lifestyle of Albert, Prince of Wales, in the short-lived rival to Punch: the Tomahawk. Likewise, his post-1870 career in New York as cartoonist of the ‘Caricature War’ over the 1872 Presidential elections, and involvement with ‘Buffalo’ Bill Cody have been well-studied. However, his involvement with the world of the 1860s Victorian stage – and the social circles in which he moved – have not been given close attention. This broader social, cultural, and economic context is essential to understanding Morgan's role as a cartoonist-critic of politics, class, gender and art in Victorian Britain. Special attention is given to the ways in which Morgan's work as a theatrical scene-painter informed his other pursuits, including his political cartoons for Fun, the Comic News and the Tomahawk. So central was the theatre to Morgan's life story that he may be appropriately described as an ‘epitheatrical’ figure. Indeed he is one of the most spectacular exemplars of the interconnected worlds of journalism, high art and theatre in Victorian London. The theatre provided him with the artistic and journalistic connections needed to raise himself above his lower-class origins; to move in ‘clubland’ and fashionable bohemian society; and to win an influential place in the key political and cultural debates of his age.     

Anna Comnena's account of the First Crusade: History and politics in the reigns of the emperors Alexius I and Manuel I Comnenus

Abstract

Anna Comnena's history the Alexiad has been accorded a high honorary status by Byzantine historians. Her pioneering efforts in philosophy and the thoroughness of her historical methodology are admired, although there is a distinct reluctance to analyse her historical writing. On a superficial level the Alexiad is a straightforward text: an historical panegyric in its organisation, frequently eulogistic in tone, in the manner of court orations, and rhetorically strongly influenced by conventional Byzantine pastiches of Homer. A triumphal mood pervades the biography. A somewhat more careful assessment soon reveals the significant tensions and contradictions which lurk beneath the formalised strength of this epic historical narrative. Ideological and cultural problematics abound. The self-conscious celebratory presentation of Byzantium's cultural elitism is frequently subverted by the author's pessimism. The spatial and temporal terrain of the Alexiad contains many visionary qualities, even though the text purports to narrate the events ‘as they occurred‘. Historical perspectives and idiosyncratic philosophical positions impinge, blend, envelop, and disorganise the text. Among the many themes is Anna's presentation of the ‘Latin West’, and in particular her characterisation of the appearance of crusaders in Byzantine society. A more personalised feature is Anna's self-projection of herself within the Alexiad as ‘a dutiful daughter’ and ‘a loving wife’. Yet the narrative contains elements of gender confusion, for there is an assertive and possessive interest in forms of political power that were usually culturally exclusive to Byzantine men.     

The International Character of a Trimmer: Interest,Reason of State,and Balance of Power in Halifax's Political Thought

This article argues that George Savile's thought casts light on international relations in the seventeenth century. Halifax's life and works concern not only England's domestic politics, but also its foreign affairs. Indeed, he develops a clear vision of international politics. This article analyses Halifax's international thought, in particular three concepts that are closely related to one another: ‘interest’, ‘reason of state’, and ‘balance of power’. Through the study of these ideas, this article will try to point out both the novelty of Halifax's thought compared with that of his contemporaries, and to reverse the stereotypical understanding of his intellectual legacy and political behaviour. The ‘trimmer’ contrasts with Louis XIV's attempt to establish a universal monarchy across Europe, outlining a doctrine of moderation that seeks to ensure liberty, security, and restraint in international relations.     

‘Europe’: What Kind of Idea?

Salman Rushdie posed the question, “What kind of idea are you?” We have borrowed his provoking question and held it up to ‘Europe.’ In this article, we suggest that ‘Europe’ cannot be primarily identified or located in terms of geographies, histories, religions, cultures or values, and that attempts to do so diminish the idea of ‘Europe.’ We also contest the vision of ‘Europe’ as a series of concentric circles emanating from Brussels and suggest that this conception indefensibly marginalizes vital portions of ‘Europe.’ We propose that, while the European Union (EU) is attempting to define core concepts of ‘Europe,’ ‘Europe's’ frontiers and borders (wherever or whatever they may be, inside or outside ‘Europe’) are actively constructing, contesting and resisting ‘Europe.’ The peripheries and perimeters are no less important than the core. On the contrary, they give substance to the idea of ‘Europe.’ Finally, we argue that ‘Europe’ can best be understood as a non-teleological construct, a narrative à la Roland Barthes. Inspired by Barthes, we propose a ‘Europe’ Theory of Classification operating at the levels of functions, actions and narration.     

Yellowstone embodied: Truman Everts' ‘Thirty-seven days of peril’

In September 1870, explorer Truman C. Everts, a member of the Washburn-Doane expedition to the then little-known region of the Upper Valley of the Yellowstone River, became separated from the main party and found himself without his horse and supplies alone in the ‘wilderness’. Everts spent 37 days struggling to effect his escape from his life-threatening predicament before being rescued by a two-man search party. The news of his separation, conjecture as to his possible fate, and reports of his subsequent rescue caused a sensation both locally and nationally and consequently earned celebrity for Everts and, crucially, for the place where the calamity occurred. Drawing on Merleau-Ponty's phenomenology and non-representational work in cultural geography which explores the relation between self and world, body and landscape, this article revisits Everts' 1871 account of his ‘perilous’ misadventure to consider how his encounter with Yellowstone was embodied and, through its retelling, ultimately became inscribed on the place itself.