Mourning the Un-mournable? Political Theology Between Refugees and Religion

Since the arrival, or the attempted arrival, of millions of refugees in Europe, the performances of the Center for Political Beauty – a Berlin-based collective of artists and activists – have had a huge impact on public and political debates about Germany's migration policies. In this paper, I analyze the performance “The Dead Are Coming” in which the artists buried refugees who drowned in their attempt to enter the European Union. Drawing on Judith Butler's political philosophy of performativity, I assess “The Dead Are Coming” as a “doing” rather than a “describing” of dignity. I argue that the integration of God into the practices of mourning enables both the activists and the audience to resist the differential distribution of dignity in Europe's migration policy. Ultimately, I advocate a re-thinking of political theology in which art learns from theology and theology learns from art in order to promote dignity under de-dignifying conditions.     

Leopards and Invisible Calculators: Violent Incorporation,Political Theology,and Kafka’s “Leopards in the Temple”

ABSTRACT

This essay reads Kafka’s aphorism “The Leopards in the Temple” together with some of the concerns of political theology to think about visibility and agency, the sacred and the profane, the violence of incorporation, and the field of political theology itself. Methodologically, it brings literary studies and political theology into richer engagement without consuming one into the other, either as mere illustration or as gloss. The condensed power of Kafka’s aphorism draws us right into the midst of questions about the dangers of consumption and incorporation, as well as the possibilities for meaningful interaction between these fields of study.     

Defending Political Augustinianism: Brague and Taubes on the “Divine” as a Common Conceptual Space

Augustine holds that each society needs to be oriented to “God and the good.” He invidiously compares the earthly city as receptive to the true God with the earthly city as opposed to the true God, and he resolutely holds that only an earthly city oriented to the true God can be genuinely described as just and legitimate. At first glance this “political Augustinianism” hardly seems very attractive to non-believers or defensible in the eyes of modern secular liberals, and yet in this article I wish to defend it and commend it universally, that is, to promote its benefits and critical insights beyond religious circles. I commend an emphasis on “the divine” (to theion), rather than on God (ho theos), as a bridge to God for believers but also, and more importantly in the West's present liberal pluralist context, as a common halting place where believers and non-believers alike can sense “the beyond” (Augustine's “God and the good”) in their midst. I develop my argument that the “divine,” thus understood, can provide us with a common conceptual space where we can abide, converse, and even agree: (i) by engaging with Jacob Taubes who powerfully criticises such an emphasis on the “divine,” (ii) by considering “divine” natural law as a bridge and halting place between immanence and transcendence, and (iii) by reflecting upon the work of Rémi Brague who has recently given powerful support to the importance and utility in the present intellectual climate of the divine (to theion) as a bridge to God (ho theos).     

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.