The Perpetrating Victim: An Allegorical Reading of Pablo Larraín’s Tony Manero (2008)

This article positions the protagonist Raúl Peralta in Tony Manero (Pablo Larraín 2008) towards the perpetrator end of a victim–perpetrator continuum. With reference to Michael Rothberg’s work on the role of implicated subjects (2013), it acknowledges the character’s status as class victim but foregrounds the repetitive acts of physical violence that mark him out as much more of a perpetrator under the dictatorship of General Augusto Pinochet (1973-1990). The article also mobilises theories of allegory developed by Walter Benjamin (1928) and Ismael Xavier (2004) to posit that acquisitive violence, cultures of imitation and façades of unity in the film all resonate with wider aspects of society during the dictatorship. Citing Idelber Avelar (1999), it concludes with the observation that the film’s conceptual engagement with the themes of forgetting and erasure has relevance to this day, both within and beyond Chile, in a neoliberalism-influenced culture of novelty and oblivion.     

Europe’s First Settler Colonial Incursion into Africa: The Genocide of Aboriginal Canary Islanders

The annihilation of the aboriginal societies of the Canary archipelago, which consists of seven islands off the coast of southern Morocco and was populated by indigenes derived from Berber-speaking communities of north-west Africa, represents modern Europe’s first overseas settler colonial genocide. The process of social destruction, initiated by European slave raiders in the first half of the fourteenth century, was propelled to completion by mainly Iberian conquistadors and settlers towards the end of the fifteenth century. In addition to unrestrained mass violence against Canarians, European conquerors practised near-total confiscation of land and near-total enslavement and deportation of island populations. Enslavement and deportation, which went hand in hand, accounted for the largest number of victims and were central to the genocidal process. They were in effect as destructive as killing because the victims, generally the most productive members of their communities, were permanently lost to their societies. Child confiscation, sexual violence and the use of scorched earth tactics also contributed to the devastation suffered by Canarian peoples. After conquest, the remnants of indigenous Canarian societies were subjected to ongoing violence and cultural suppression, which ensured the extinction of their way of life. That the enslavement and deportation of entire island communities was the consciously articulated aim of conquerors establishes their “intent to destroy in whole,” which is the central criterion for meeting the United Nations Convention on Genocide’s definition of genocide. This article argues that individually and collectively all seven cases of social obliteration in the Canaries represent clear examples of genocide, and it is the first article to contend that the destruction of aboriginal Canarian societies constitutes genocide.     

Disruptive marginality: The representation of wildness in Lope de Vega’s Baroque dramatic art

Abstract

The theatrical production of Baroque Iberia exhibits an obsession with wildness that remains to be fully explored. By the time Segismundo takes the stage dressed in animal pelts in Calderón’s La vida es sueño, the wild figure had already enjoyed a long history on the Spanish stage, first appearing in Lope de Vega’s El nacimiento de Ursón y Valentín in 1588. Enduring popularity until Bances Candamo’s 1693 comedia, La piedra filosofal, this steady preoccupation with the concept of wildness offers unique insights on the evolving landscape of Baroque ideologies over time, which are rarely considered diachronically. Dramatic representations of wildness signify the transgression of a prescribed norm—be it social, political, racial, or otherwise—which leads to its necessary elimination to resolve the conflict of a given play. In this article, I will plot the trajectory of dramatic conventions in their diminishing ability to resolve the recurring problem of wildness, thus offering a literary history of the comedia’s social efficacy as it struggled to sustain the weight of its own ideological commitments. Furthermore, I will examine the implications of my approach on longstanding debates on the ideological function of Baroque Iberian drama by analyzing the theoretical problem inherent in the existence of the marginal terrain wildness inhabits. My approach considers who stands to benefit from social order and those who, like the wild figure, find themselves excluded. At a time of renewed energy for exclusionary ideologies, aspirations of encompassing the marginalized are as important today as they were in 1588.     

The deposit of KHB-1, Ra’s al Khabbah (Ja’lān region,Sultanate of Oman): Stratigraphy,features and structures

The excavation of KHB-1 archaeological site was part of the Joint Hadd Project [Joint Hadd Project is a project operating in the Ja’lān region since 1985, born under the collaboration between ISIAO (Istituto Italiano per l’Africa e l’Oriente, Rome), CNRS (Centre National de la Recherche Scientifique, Paris) and the University of Bologna] carried out in the Ja’lān region, along the coast of the Sultanate of Oman. Different phases of occupation with significant structural evidences were identified within the deposit: an early short-term occupation in the 7th millennium, followed by a longer, extended period of occupation during the 4th millennium by a community of hunter-gatherers, with some evidence of animal husbandry. The material culture recovered from KHB-1, which includes architectural remains, provides new insights on the cultures of this region, highlighting a need for further excavations and analysis. This paper will illustrate the stratigraphic sequence and the main features recovered at KHB-1, followed by a discussion on the two main periods of occupation which will help shed a light on the site function and more broadly provide key insights on mobility, economy, and material culture of Ja’lān in the beginning of 7th and along the 4th millennium B.C.     

A place in the sun: the British housing market’s (de)construction of Andalusia

Abstract

Andalusia has become one of the main destinations for British residential tourists, attracted by leisure, a mild climate and the search for a better lifestyle. Prompted by its interest in selling houses, the real estate industry has devised an image of the Andalusian landscape that is, to all intents and purposes, partial and biased. The purpose of this research is to assess the importance of the elements and features that characterise this particular vision of this Spanish region, paying particular attention to more rural inland areas. For this, an empirical study has been conducted based on content analysis of real estate websites targeting British buyers. This study has revealed that: (i) the misrepresented and romantic projection of the image of Andalusia still persists to a certain extent. Among the main elements and attributes that characterise the landscape are all those that emphasise the region’s sublime, picturesque and exotic nature; other main landscape qualities and unique areas, specifically, any that today enjoy natural or cultural legal protection due to their heritage value, are less important in this cultural construction; (ii) the various parts of Andalusia are treated unequally. Malaga province and the rest of the Baetic Mountains are much better represented than other areas (the Guadalquivir Valley and the Sierra Morena mountains). This imbalance sometimes results in a distorted construction of the territory. This way of conceiving Andalusia puts Malaga at the heart of the region, and the further from the Costa del Sol, the more peripheral the regions become; (iii) the complexity of the landscape as a cultural expression is reduced to a set of simplified features that can be easily digested by a social group focused not on experiencing, but on consuming the landscape.     

The ‘Liverpool model(s)’: cultural planning,Liverpool and Capital of Culture 2008

Within the UK, the ‘Liverpool model’ is being celebrated as the new template for Capital of Culture festivals, and culture led urban regeneration in general. This paper will question this celebration and argue that there are, in fact, two ‘Liverpool models’: the first, outlined in its bid and developed within its initial planning strategy, represented the apogee of a New Labour informed ‘cultural planning’ framework for urban development; the second, developed post-2008 within the impact analysis Impacts08, is a more sober and realistic reflection of the role of culture in urban regeneration. This paper will demonstrate how this first model, while politically expedient and rhetorically seductive, was both theoretically unstable and practically unrealizable. Its subsequent abandonment represents an indictment of cultural planning as a nostrum for the complex structural, social and economic problems of the post-industrial city.     

The remedies of the machi: visualizing Chilean medicinal botanicals in Alonso de Ovalle’s Tabula geographica (1646).

This art historical study analyzes images of colonial-era medicinal botanicals in South America within a little known seventeenth-century map, the Tabula geographica regni Chile, and proposes that these renderings were central to a visual program by which their author Alonso de Ovalle attempted to construct a positive image of his homeland before the Spanish Crown. These renderings of specific Chilean plants and their expressed medicinal applications are examined in relation to the rise of materia medica for commerce in southern Europe and the Spanish interest to locate botanical medicines for profit. This approach allows us to consider pre-Linnaean botanical renderings as persuasive documents, as purveyors of indigenous knowledge, and as instruments of negotiation (prospecting for new commercial goods) for the advancement of criollo agendas. Finally, looking at Ovalle's images of Chilean medicinal botanicals in comparison with later documents demonstrates that while early pictured conveyances across the Atlantic formulated conceptions of American nature, the transference of actual specimens to Europe involved their adaptation for new functions and uses.     

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.     

The famished soul: resonance and relevance of the Irish famine to Irish men’s accounts of hunger following immigration to England during the 1950s and 1960s

This paper uses a hermeneutically informed analysis to reveal how Irish men’s accounts of acute hunger on arrival in England during the 1950s and 1960s resonate with archival oral accounts of the Great Hunger in Ireland during the 1840s. The paper makes the case for a new continuum of memory which foregrounds the corporeal and spiritual dimensions of acute food deprivation and its significance over space, place and time. I argue that a corporeal-spiritual medium of memory represents a two-sided reality, a pivotal yet nebulous point of contact which exemplifies our understanding of how discourses of hunger recounted over the course of a century help shape reconstructions of Irish sociocultural identity. The symbolic potency of hunger and particular foods to expose a distinct moral and social order during both time periods is examined. I also show how this more burnished and fluid medium of corporeal and spiritual memory highlights the importance of intracultural diglossia in respect of Irish sociocultural identity and with it, the interface between individual, collective and folk memory.     

Paleocene flora from Seymour Island,Antarctica: revision of Dusén’s (1908) angiosperm taxa

The Paleocene flora from Seymour Island, Antarctica, is one of the most diverse floras of this age in the Southern Hemisphere. First collected on the Swedish South Polar Expedition (1901–1903), it was described by Dusén in 1908 as having 87 leaf taxa. Forty-seven angiosperm taxa were described and/or illustrated. Many species are based on single specimens, and the flora has not been re-examined in its entirety since it was first described. This study is the first reassessment of the flora updating the original research using current methodologies, and permitting evaluation of the flora in the context of modern ideas on plant evolution and palaeogeography. This paper continues the revision of the material first studied by Dusén; a previous paper described the ferns and gymnosperms; here we describe the angiosperms. The revision is based on the original collections held at the Swedish Museum of Natural History, together with the first major new collections held at the British Antarctic Survey. Among the taxa recognized by Dusén, we recognize only three entire-margined and 11 tooth-margined angiosperms. This revision to 14 species notably lacks the two tropical elements originally described from the flora, Mollinedia seymourensis and Miconiiphyllum austral. Hence, its status as a ‘Mixed Flora’ comes into question and influences climatic interpretations based on Gondwanan floras. Anne-Marie Tosolini^? [a.tosolini@unimelb.edu.au], Department of Earth Sciences, University of Leeds, Leeds LS2 9JT, UK, and Environmental Geoscience, Latrobe University, Victoria, 3086, Australia; David Cantrill [david.cantrill@rbg.vic.gov.au], National Herbarium of Victoria, Royal Botanic Gardens Melbourne, Private Bag 2000, Birdwood Ave, South Yarra, Victoria, 3141, Australia; Jane Francis [j.francis@earth.leeds.ac.uk], Department of Earth Sciences, University of Leeds, Leeds LS2 9JT, UK. ?Present address: School of Earth Sciences, The University of Melbourne, Victoria 3010, Australia. Received 5.5.2012; revised 13.12.2012; accepted 7.1.2012.     

The Invention of Prehistory and the Rediscovery of Europe: Exploring the Intellectual Roots of Gordon Childe’s ‘Neolithic Revolution’ (1936)

Journal of World Prehistory - This article re-examines the ‘neolithic revolution’—Gordon Childe’s great contribution to prehistoric archaeology. Childe first articulated his...     

The ‘joyous entry’ of Archduke Maximilian into Antwerp (13 January 1478): an analysis of a ‘most elegant and dignified’ dialogue

In the historiography of ‘joyous entries’ in the medieval Low Countries, much attention has been paid to the ways in which the iconographic programmes of these inauguration ceremonies served the dialogue between the Burgundian dukes and their subjects on the one hand, and between urban interest groups on the other. Analyses of the various theatrical performances organised on town squares and other public urban spaces allow us a glimpse of the balance of power and of the participants’ ambitions and strategies in a certain historical and geographical context. An in-depth analysis of a contemporary account of Maximilian's joyous entry into Antwerp (13 January 1478) adds a new perspective to historiography by showing how the public urban spaces functioned as complex social products, which gave extra meaning to the interaction between the duke and urban groups while simultaneously mirroring the socio-economic and political structure of urban society.     

The Making of Iconic Disloyalty: The Evolution of Liu Mengyan’s (1219 - ca. 1295) Image since the Thirteenth Century

This paper traces the deeds and evolving images of Liu Mengyan (1219–ca.1295), the top candidate in the 1244 civil service examination who was later promoted to Chief Councilor of the Southern Song (1127–1279) in 1275. After the Southern Song collapse, Liu joined the Yuan (1271–1368) government and continued his career as a high official. In contrast to the prominent Song loyalist Wen Tianxiang (1236–83), who enjoyed excellent posthumous fame, Liu Mengyan was repeatedly denounced upon his death and even became an icon of disloyalty. This paper examines how this image of disloyalty was forged from the late-thirteenth century onwards. It suggests that the way Liu’s contemporaries and later literati interpreted and portrayed his deeds depended on political and social circumstances, and this in turn related to the ideal loyalist prototype by which they considered Liu, as well as on their interpretation of the concept of loyalty and their attitudes towards non-Han “barbarians.”     

Early Construction of a Maya Sacred Landscape: The Sector Y “E-Group” of Nixtun-Ch’ich’ (Petén,Guatemala)

The southern lowland Maya city of Nixtun-Ch’ich’ exhibits an atypical gridded layout imposed in the Middle Preclassic period (800–400 b.c.). Sector Y, in the monumental core, consists of a two-part sub-structural platform with an “E-Group” quasi-astronomical architectural complex (Platform Y1) and a deep natural depression or fosa, Fosa Y (Platform Y2). Earliest construction began with bedrock leveling, probably around 1100–1000 b.c., followed by late Terminal Early Preclassic and transitional Terminal Early to early Middle Preclassic building, subsequent massive Middle Preclassic rebuilding, and Late Preclassic enlargement. Excavations in Sector Y provide evidence of the early phases of construction of a sacred landscape proposed to have been based on a mythical creation-crocodile’s back. More broadly, this work contributes to studies of early societal complexity and urbanization in the Maya lowlands, in Mesoamerica, and beyond.     

Temporal and Narrative (Dis)junctures: Guillermo Núñez’s Aesthetics of Memory and the Museum of Memory and Human Rights (Santiago,Chile)

Focusing primarily on Guillermo Núñez’s work, this essay juxtaposes two almost-identical exhibits of his ‘exculturas’ (sic: xculptures/ex-cultures) – one at the Chilean-French Cultural Institute in 1975, which resulted in his detention and exile, the other in 2010 for the official inauguration of the Museum of Memory and Human Rights (MM) – to explore their relationships to memory production in Chile four decades after the military coup. In the first, Núñez offered a pointed critique of the repressive post-coup context through a series of caged and netted objects; the second reconstructed the first as a memory gesture, framed within the ultra-modern, state-sponsored MM, in its designated art space, at once included and physically separated from the historical narrative of the Museum. How do the politics, aesthetics and design of the MM work to complement, complicate, or contradict Núñez’s – and, perhaps, any – artistic proposal? What challenges might the aesthetic of memory in Núñez’s work pose to the Museum’s narrative frame? Examining Núñez’s ‘exculturas’ (and, briefly, Gonzalo Díaz’s reconstructed Lonquén) reveals several tensions – around politics of inclusion and exclusion, the state’s role in memorysites, and the relationships between human rights concerns and museological and artistic strategies – marking the social production of memory in Chile today.     

The hinc et nunc of moral theology: Francisco de Vitoria’s lesson and the missionary experience*

In the sixteenth century, as moral theology was being consolidated as an autonomous academic discipline, theologians at the University of Salamanca, including the Dominican Francisco de Vitoria, began to incorporate current moral and political issues into their teaching agendas. Prominent among these issues were those arising out of the conquest of the Americas. Their students, a generation of university-trained missionaries, then went to work in Spanish possessions in the Americas and the Philippines. These missionaries and men of learning included the Augustinians Alonso de la Veracruz (in Mexico) and Martín de Rada (in the Philippines and China). As their world expanded, Vitoria's teachings were rendered fully intelligible in the confusing reality of the colonial enterprise, and these missionaries struggled to apply his lessons to the questions of conscience they encountered. The result can be considered a new chapter in the relationship between theological knowledge, the production of facts, and moral certainty, all against the backdrop of the territorial and economic expansion of Spain.