The culture of reconstruction,European literature,thought and film, 1945–1950

John Trenchard's and Thomas Gordon's ‘Cato’ has generally been seen by historians as the embodiment of neo-Harringtonianism and the polar opposite of Bernard Mandeville's thought. This paper addresses that misreading and places Trenchard and Gordon within a tradition of liberal republican political thought, rather than a civic humanist or neo-roman tradition. It examines the relationship between the political, philosophical and religious beliefs of Trenchard and Gordon and those of Mandeville, arguing that they shared a common framework with respect to the problems of politics.     

Mitterrand’s Europe: functions and limits of ‘European solidarity’ in French policy during the 1980s

Abstract

This paper explores the conceptualization and interpretation of ‘European solidarity’ by the French President François Mitterrand. It discusses the relevance of former concepts of foreign and European policy. It differentiates between a European idea and European institutions, also taking into account personal experiences. Finally, it analyses the correlation between different concepts such as ‘European solidarity’, ‘transatlantic solidarity’, ‘West European solidarity’ and ‘pan-European solidarity’.     

International law and ‘humanity’ in the making and unmaking of European solidarity, 1830–1915

Abstract

The Janus-faced character of nineteenth-century Europe presents unique challenges to historians. Concurrent to spiralling industrial growth, working-class revolts, transatlantic migration and imperialism, the stark social and economic upheaval of the period has virtually belied the solidarity achieved on the Continent. In recent years, however, a number of superlative scholarly studies have excavated and illuminated the intellectual, legal and technological revolutions that ushered in an era of promise and potential unity. In this article, the author examines the degree of interdependence and interconnectedness across the Continent and the world by melding extant scholarship, introducing primary-source research, and offering new perspectives on the relationship of the increasingly globalized world and the European efforts to harness its potential by attempting to create lasting norms for peace and prosperity through international law and the benchmark concept of ‘humanity’.     

Show solidarity,live solitarily: the Nazi ‘New Europe’ as a ‘family of peoples’

Abstract

This chapter first investigates how the German Nazis used the term ‘European solidarity’ and demonstrates that the term meant political loyalty between European ‘peoples’ (Völker) in National Socialist discourses. Second, assuming that the Nazis’ objective in showing solidarity with or demanding loyalty from other nations was to increase strength in what they believed to be a conflict with ‘international Jewry’, it examines the logic of the Nazis behind including other European countries into their own camp in that conflict. It will be argued that the Nazis developed a sense of belonging with non-German Europeans based on three ideas: (1) the racist myth that all Europeans belonged to the ‘Aryan race’; (2) a Europe-wide consensus of the extreme Right on anti-Communism, antisemitism, and anti-democratic and ultra-nationalist worldviews; and (3) the existence of cross-border relations within Europe which led to shared experiences. The article draws on primary sources as well as on secondary literature about National Socialist concepts of Europe and about transnational academic, cultural and social relations in the National Socialist sphere of influence.     

The Origins of European Fascism: Memory of Violence in Michael Haneke’s The White Ribbon

Michael Haneke’s film The White Ribbon (2009) narrates violent attacks that disrupt the cyclical life of a German village in 1913–14. The narrator frames the violence as a study of the origins of fascism: the alleged perpetrators are children, who rebel against the disciplinary powers of patriarchal authority. Coming to maturity during World War I, they will have become the generation of Nazism’s followers. In contrast to psycho-historical readings of The White Ribbon as a cinematic exploration of the causal relationship between the authoritarian formation of the juvenile subject and her susceptibility to fascism’s redemptive illusions, I propose an anti-psychological interpretation of the film. This reading seeks to understand The White Ribbon in terms of Haneke’s aesthetic and formal choices, which underpin his notion of “ethical spectatorship.” I argue that the film offers a dual metaphorical construction of the nexus between memory and the cinematic image, and of the mnemonic and affective aspects of the history of violence. Haneke forges a link between the European attitude to its history of fascism and its ongoing politics of exclusion, arising from its covert fascist desire for the unified self. The significance of The White Ribbon in the ongoing debate on history/memory thus lies in its critique of Europe’s current self-understanding as having outgrown its violent past.     

Lampon’s Episode in Xenophon’s Ephesiaca: The Reformulation of a Goatherd

The article examines the figure of Lampon, an uncharacteristic goatherd appearing in a folk-tale-like story in Xenophon’s Ephesiaca 2.9–12. It has long been recognized by critics that the circumstances of the Euripidean Electra are recalled in the episode under discussion. Comparisons are made with the Euripidean scene and the “reshuffling” of the main roles is expounded, including the novelist’s decision to make Anthia the partner of a goatherd and not the wife of a lowly farmer. On the basis of thematic and verbal similarities, it is argued that Xenophon appears to have a direct knowledge of Euripides’ Electra, which he imaginatively exploits. Subtle details of occupation and name are also discussed in relation to the stereotypical α?π?λο? and the ?γροικο?. A characteristic feature recalling the Aristotelian notion of ?γροικ?α is pointed, and it is concluded that Xenophon skilfully subverts the stereotypes, as he does not endow Lampon with the traditional negative marking of ?γροικοι and α?π?λοι, and indeed moulds an anti-aipolos.