The Capture and Curation of the Cannibal ‘Vendovi’: Reality and Representation of a Pacific Frontier

ABSTRACT

The United States Exploring Expedition into the Pacific launched in 1838 was marked, like the continental expansion westward, by violent encounters with Native peoples. By examining the record of the expedition's kidnapping of the Fijian Ro Veidovi, the fate of his body after death, and the ways his story came to be invoked in the official narrative of the expedition, the popular press, the ‘National Gallery’ and, more recently, the Fijian press, this paper demonstrates how violent contacts on the Pacific frontier were remembered, effaced, and reconceived. The changing story of Ro Veidovi permanently bridged distant locales in an emerging ‘Pacific World’, setting in motion transcultural negotiations that continue to this day.     

‘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.     

Adriano Celentano and the origins of rock and roll in Italy

Abstract

This article examines the way in which American rock and roll was translated into Italian culture. It argues that Italian versions of rock and roll were not just ‘watered down’ or ‘domesticated’ versions of the original. Rather, Italian rock emerged from a context that was different in musical, ethnic, political, linguistic and religious terms. By focussing on Adriano Celentano (the most prominent ‘Italian Elvis’ of the 1950s), it is shown that Italian rock singers evolved from mere imitation to cultural forms that were more related to the Italian environment. Musically, this meant a relationship with the domestic melodic tradition, jazz and American rock and roll rather than the blues. The rebellious attitude of early singers was a function of the hostility demonstrated towards them by political and religious authorities. Once this attitude was replaced by one of co-optation, opposition was replaced by modernizing integration. A figure like Celentano managed to be simultaneously defiant and conservative, pagan and religious, conformist and non-conformist. The resulting contradictions were concealed beneath a personal magnetism partly based on an established ‘cool’ style that appealed to the new categories thrown up by social and economic changes. Celentano's fame was confined to Italy not because he merely imitated American rock but because he developed an original synthesis that was specifically adapted to Italian tastes.     

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.     

Resistance politics of non-violence: Jean Paulhan’s ’Fautrier the Enraged’ (1943)

ABSTRACT

The idea of adequately ‘representing’ violence was an important point of discussion amongst Resistance artists and intellectuals at the time of the French Occupation. In particular, intellectual resistant Jean Paulhan had written on the subject in his text introducing Jean Fautrier’s retrospective exhibition of November and December 1943 in occupied Paris, ‘Fautrier the Enraged’. While the thematic of the exhibition proposed an academic and traditional subject matter, Paulhan demonstrated that Fautrier’s typically matierist and anti-naturalistic approach was instrumental in ‘suggesting reality’. Fautrier’s individual creative process, Paulhan argued, led to a transparent experience to be shared between viewer and artist not only on an aesthetic level, but also from a political point of view. At the time of ‘Fautrier the Enraged”s writing, Paulhan had indeed been concerned with issues of political engagement, as is evident from his essay ‘The Flowers of Tarbes or Terror in Literature’ (1941), which reflects upon the human condition and is concerned with reconciling poetry, politics and ethics. The author believes that such questions were being addressed in Paulhan’s text on Fautrier and by Fautrier’s art and that an aesthetic reading of Paulhan’s text is inseparable from a political interpretation of Fautrier’s art within the context of the Occupation. Indeed, the aesthetic criteria used in Paulhan’s text as framework to his argument were then loaded with political meaning. For instance, Paulhan considered virtuosity as an essential artistic characteristic to be opposed to the art of imitation based on the technical ability to observe and simulate ‘nature’ as imposed by the occupants. With excerpts from Paulhan’s essay and exchange of letters with Fautrier as well as visual analysis of some of the artworks presented in the exhibition, this paper deals with the wider issues of ‘representation’ in the historical and cultural context of the Second World War in France.     

Towards a holistic approach to heritage values: a multidisciplinary and cosmopolitan approach

ABSTRACT

In this paper, we explore the ‘Preservation/Heritage Values/Management’ triptych, and we propose a new method for addressing the values attributed to cultural heritage sites. Combining multidisciplinary and cosmopolitan approaches, we propose a way of moving beyond the traditional lens of assessing significance within the imposed categorical framework of ‘aesthetic, historic, scientific, social or spiritual values’. We provide an example of our new approach through a worked case study in the Maloti-Drakensberg Park World Heritage Site (South African section). Our case study concerns the values associated with the world famous San (Bushman) rock art of this mountain area. Through a thematic analysis of data collected in this area from 2009 to 2017, six cross-cultural interest points are identified and are discussed. Building upon the history of values-based heritage management, we argue that our multidisciplinary and cosmopolitan method is transferable and can be applied to heritage sites around the world. It can facilitate the construction of heritage management plans that are more in tune with local actors and that will therefore prove to be more effective and sustainable.     

Gustav Metzger: iconoclasm and interdisciplinarity

ABSTRACT

Gustav Metzger (1926–2017) has been described as ‘the conscience of the art world’ for the consistently political content of his art and his commitment to political activism on the subject of nuclear weapons, capitalism and environmentalism. Metzger’s artistic output from the late 1950s onwards reflects a theory of art as both aesthetic form and social action and identifies him as a key precursor of activist art. This article considers the inherent interdisciplinarity of Metzger’s practice as it evolved during this early period between the late 1950s and early 1970s in relation to his agenda of social engagement.     

The making of the Heart of the World: representation and the Kogi

Abstract

The Kogi of Colombia's Sierra Nevada have maintained a culture isolated from colonial contact since 1600. Living in the ‘Heart of the World’ they call themselves ‘Elder Brother’. They consider themselves the world's caretakers and the keepers of a traditional knowledge long since lost by the invasive and destructive colonizing ‘Younger Brother’. An invitation from a BBC filmmaker to provide a medium for the Kogi to contact the outside world was accepted. The result was a film that the Kogi planned and devised to warn Younger Brother to stop his destructive behaviour.     

Ethics,politics and practices in rock art conservation

Abstract

Weathering and deterioration of Norwegian rock art has become an increasing area of concern over the last decade, with subsequent increasing efforts towards conservation. This has brought questions onto the agenda regarding the ethics and politics involved in conservation theory and practice. It is argued that such issues have been difficult to debate due to the concept of conservation being regarded as a legal and moral ideal. Referring the situation in Norway to ongoing global debates and perspectives regarding rock art conservation enables us to reveal and discuss some of the fundamental and complex philosophical issues involved. Notions of authenticity which implicitly underlie attitudes to rock art conservation are questioned, and the relationship between ‘green’ politics and rock art conservation is also discussed. A tendency towards uniform solutions and avoidance of critical issues, seen as influenced by strong social-democratic political traditions in Scandinavia, is at odds with the growing realization that most approaches to rock art conservation inevitably have unforeseen and frequently undesired consequences. Rather than further segmenting ethics, politics or practices in rock art conservation, a self-critical and reflective approach is suggested whereby changing concepts of ethics and authenticity are continuously debated.

Aucune loi ne pourra jamais préserver la sacralité d'un lieu … si ce n'est une loi morale, non écrite,adoptée et respectée par chaque individu, un véritable code personnel d'éthique.

(Soleilhavoup, 1994: 14)     

Towards ‘Embedded Non-creative Work’? Administration,digitisation and the recorded music industry

Abstract

For contemporary cultural policy, ‘non-creative’ work continues to form a conceptual blindspot: a foil to define and value creativity against. This paper develops existing categories to augment the task-focused notion of ‘embedded creativity’ with a more situated view of work’s cultural and institutional embedding. It first interrogates this ‘embeddedness’, taking a ‘cultural economy’ approach to intermediation and administrative support. Drawing on observations from an in-depth qualitative study of employees in major record labels, the second part articulates the heightened importance of ‘admin’ to recorded music industries, after ‘digital disruption’. Routine bureaucratic labour presents an atypical example, revealing much about the hidden relational and identity work that goes into constructing ‘creative industries’ as such. The intention is not to show that ‘embedded non-creative workers’ are in fact ‘creative’ but, on the contrary, to articulate the distinct contributions and value of support work in this context, questioning a persistent reliance on creative/non-creative dualisms. Policy research would benefit from enriched understanding of culture's assembly in marketable objects, reorienting understandings of ‘cultural’ labour markets and careers, and reimagining the role of traditional cultural ‘administration’ in the contemporary ‘creative economy’.     

Obituary—The Rev. Robert Mackenzie,M.A.

Abstract

This paper examines how CCTV-assisted bird-watching mediates people's relationship with a particular representation of an animal world. By focusing on people's interpretations and responses to CCTV camera technology at three bird-watching sites around Scotland, it is argued that the use of CCTV technology represents a qualitatively different mode of engaging with birds which has bearing on how this mediated animal world appears in and to people's everyday lives. It is asserted that the spatial relations invoked in the act of looking at birds through a CCTV lens inscribe a conceptual hyper-separation between see-er and seen that serve to normalise a vision of humanity inherently separate from and dominant over the wildlife on screen. As a technologically mediated way of seeing, the paper explores the use of CCTV cameras as inscribing particular ‘ways of being’ that serve to define and limit people's conduct towards the birds on view. By drawing attention to the conservation discourses that support, and are supported by the use of CCTV-assisted bird-watching, it is argued that the notion of ‘keeping an eye on nature’ is embedded in a cultural agenda that assists with the construction of nature as tele-visual commodity.     

George W. Bush's War on Terrorism and Sin

Abstract

In George W. Bush's inaugural address, informed by ‘compassionate conservatism’, there was a tension between two familiar goals in US political discourse: conserving the status quo and changing the world for the better by cleansing it of sin. In Bush's discursive construction of the war on terrorism, ‘compassionate conservatism’ and the construction of sin were folded into a unified discourse, with the emphasis on preventing dangerous change rather than creating positive change. A static state of safety, constantly protected by ‘compassionate conservatism’ and war, is now offered by American conservatives as the most viable and most patriotic way to stave off the forces of sin.     

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.     

Art and science in the UK: a brief history and critical reflection

ABSTRACT

This paper begins by reviewing the historical construction of ‘SciArt’, and the way in which its supposed interdisciplinarity often shaded into science communication. Early discussions about the complementarity of art and science were conceived in terms of epistemology, notably the qualities of imagination and curiosity. The paper moves on to discuss how, during the current decade, Art and Science (A&S) discourse has altered due to changes in the cultural politics of both its constituent fields, emerging as a ‘transdiscipline’ characterized by ‘creativity’. Eighteen in-depth surveys with leading practitioners in A&S form a substantial part of the research material, yielding an evaluation of what the disciplinary, economic and cultural implications of this changed discourse may be. Though potentially angled towards the solution of ‘wicked’ problems, transdisciplinarity also sacrifices the specific critical expertise of art, fetishizes tech at the expense of science and selectively ignores institutional problems inherent in funding and power structures.     

Landscape Construction and Long-Term Economic Practices: an Example from the Spanish Mediterranean Uplands Through Rock Art Archaeology

We argue in this paper that Levantine rock art in the Spanish Mediterranean basin allows us to ‘map’ the economic landscape of its makers. Rock art would be the ‘monumental’ side of a dual process of landscape construction: on the one hand, rock art is the first ‘cultural’ action on the landscape beginning in the Early Neolithic; on the other hand, the first evidence of active modification of the Mediterranean vegetation comes from this period. But this evidence as well as other kinds of archaeological remains are still relatively scarce in the uplands; rock art is therefore the most complete type of evidence we can use to support an early use of the Mediterranean upland environment. We use statistical and geographical analysis, together with archaeological, ethnohistorical, and ethnographic sources and pollen data, in order to support the idea of early use and exploitation of the Mediterranean uplands since the Neolithic, and into contemporary times.     

Drawing Algeria into Europe: shifting French policy and the Treaty of Rome (1951–1964)

Abstract

In France and Europe today, claims arise defining so-called Muslim and European ‘worlds’ and labelling them irreconcilable. These claims ignore the intertwined history of France and North Africa. When the six founding members of the European Economic Community (EEC) signed the Treaty of Rome, French administrators still considered Algeria to be a constituent part of France, despite the ongoing war. The Algerian question was central to negotiations for the Treaty of Rome and during them, French officials attempted to inscribe Algeria within the founding documents of the European project through a policy of ‘Eurafrique’. Their partners, eager for France’s signature on the Treaty, accepted a vision of integrated Europe with borders crossing the Mediterranean. This decision raised thorny issues in the months and years to come, first in debates of how or even if the Treaty could be implemented overseas, then when independent Algeria attempted to define its relationship with the EEC. These episodes of negotiation and interaction reveal the centrality of the question of empire to the foundations of integrated Europe.     

Historiographical Foundations of Modern International Thought: Histories of the European States-System from Florence to Göttingen

Summary

The foundations of modern international thought were constructed out of diverse idioms and disciplines. In his impressive book, Foundations of Modern International Thought, David Armitage focuses on the normative idioms of natural law and political philosophy from the Anglophone world, from Hobbes and Locke to Burke and Bentham. I focus on parallel developments in the empirically-oriented disciplines of history and historiography to trace the emergence of histories of the states-system in the Italian- and German-speaking worlds, from Bruni and Sarpi to Pufendorf and Heeren. Taking seriously Armitage's remark that ‘the pivotal moments in the formation of modern international thought were often points of retrospective reconstruction’, I argue that the historical disciplines supplied another significant intellectual context in which the modern world could be imagined as ‘a world of states’.     

The German Argentines between Nazism and Nationalism: The Patagonia Plot of 1939

Abstract

When seizing control of the US embassy In Tehran in November 1979 during the Iranian revolution, militant students not only took sixty-one US citizens hostage, but also captured thousands of pages of official documents. During the 1980s, they published seventy-seven volumes of selections in order to prove to the world that the United States had colluded with the Pahlavi regime, and to discredit Iranian moderates by revealing their former ties to US officials. In keeping with the militants' perception of the embassy's role in Iran's domestic politics, they entitled the publications Documents from the US Espionage Den (Asnad-i Lanah-yi Jasusi).¹ Surprisingly, among the papers published is one by Harvard University anthropologist Michael M. J. Fischer entitled ‘Religion and Progress in Iran’, apparently written for a state department colloquium on Iran held on 25 May 1979. In the introduction, Fischer characterizes the Islamic Republic as a ‘challenge to modernization theory’: ‘Iran has been a major test case for modernization theory throughout the 1960s and 1970s. It was the case where the constraint of capital was theoretically removed, and therefore the case where transformation from the third world into the first world was expected to be most feasible.’²     

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.