“Voy a empeñar la Edad de Oro”: Historia,música y política en la crisis española (2011–2016)

ABSTRACT

Spain's current economic and social crisis has involved a profound reappraisal of the country's history, institutions, and official narratives, especially after the emergence of the 15M or indignados movement in 2011. A crucial example of this shift has been the widespread criticism of Spain's “Transition to Democracy” or Transición, widely considered Spain's “foundational” narrative. In this article, a series of examples from the musical field—including essays, songs, and public uses of music—are studied and contextualized in order to analyze different interpretations and critiques of the Transición developed by artists, intellectuals, and politicians who took part in the 15M or have been influenced by its “climate” (Fernández Savater). In these examples, two complementary trends are identified: on the one hand, an intention to reclaim part of the Transición's collective mood through its musical symbols; on the other, a rejection of its political legacy, as expressed in criticisms of its musical canon.     

Social Werktreue and the musical work's independent afterlife

New musicology's rejection of formalist precepts eclipses how the subjectivization of aesthetics institutes the schema of music's opposition to reality. Social Werktreue—fidelity to the work and to the faithful reproduction of an original intent—replaces ideals of aesthetic transcendence with analyses of a work's socially constructed meaning. Hence, absolute music's social demystification positions music criticism within a system of oppositions ratified by bourgeois culture. The power individual works exercise in contesting reality deconstructs formalist dogma and social Werktreue. The temporality evinced when works address us in new situations attests to the work's independent afterlife. By confronting formalist criticism and social critique with the schema Kant initiated when he legitimated aesthetic judgment's transcendental function, this independent afterlife argues against transposing the principle of interpretive fidelity onto the social plane. Works reveal dimensions of experience in the midst of existing social and historical conditions, thereby opening new horizons for music criticism.     

Ephemeral geopolitics: Tracing the role of refugees in Syria's transnational opposition

It has become common to read that Syria's conflict has become a “globalized civil war,” with the understanding that states have become the key actors shaping its dynamics. While in great part true, such an understanding overlooks the significance of transnational networks in shaping the conflict and, more importantly, how these networks and states have been intimately connected from its early stages. This paper explores how a network of Syrian refugees that I dub the “coordinating class” performed the work of binding together the heterogeneous assemblage that was Syria's opposition movement. Drawing on assemblage theory and two years of multi-sited fieldwork, the paper explores three practices through which this emergent network linked the spaces of exile to the warzone of Syria's opposition-held “Liberated Territories.” In doing so, the paper argues that in Syria's conflict, refugees' geopolitical agency was highly layered, provisional, and ephemeral, yet still shaped the wider geopolitics of the war.     

Music in factories: a twentieth-century technique for control of the productive self

This paper discusses the historical use of music to produce more efficient, more committed, industrial workers. First emerging in academia early in the twentieth century, psychological interest in the industrial application of music had grown into a topic of popular interest and government investigation by the 1940s. Catalysed by the need for vast increases in production and the desire to cultivate ‘citizenship’ amongst industrial workers which the Second World War produced, consideration of how music could be employed as an affective soundtrack in factories—to raise employees' work rates, to increase their efficiency, to combat fatigue and boredom, to improve morale, to access and manipulate their emotions and loyalties—became a prominent area of psychological research. This paper examines that psychological research and its largest scale application in the BBC radio show Music While You Work, broadcast daily to millions of British factory workers from 1940 until 1967. The paper focuses particularly on conceptualizations of music's affective power and its utilization to exert ‘emotional control’ over spaces of work and the working self. This paper is centrally concerned with the practice of Music While You Work as a programme broadcasting specifically for factory spaces, and how this confronted the BBC's music policies for a national and domestic audience, impacting on the radical nature of the affective soundtrack to work which was produced.     

Masculinity and the mic: confronting the uneven geography of hip-hop

This article explores the uneven gendered geographies of rap music. It argues that Black men's blocked access to culturally dominant masculinity, vis-à-vis access to public space – and the resulting containment of Black men within Black communities – has produced an overly compensatory form of masculinity, for which access to and control of the public domain within Black communities is essential for access to hegemonic masculinity. Rapidly declining economic opportunity has meant that young Black men thrown out of work put their talents, time, and energy into an emerging youth culture brewing in parks, on street corners, train stations, and viaducts in places such as the South Bronx. The early innovators of the hip-hop movement used this new art form to remake the public space of the abandoned, segregated, and spatially disempowered Black neighborhoods they lived in. It was in this context that the link between masculinity and rap music was established. I conclude by providing an example of how Black women have found ways to break the link between masculinity and the mic by creating spaces where they can confront and remake the uneven geography of hip-hop, restoring hip-hop's radical spatial potential.     

William Stubbs,Parliament and the Medieval English Constitution

The name of William Stubbs will forever be associated with the birth of modern scholarship on the late medieval English parliament. At the core of his Constitutional History, a three‐volume work published in the 1870s, is a brilliant synthesis of the development of the early parliament. Since its publication, however, Stubbs's work has generated varied reactions, as scholars have positioned themselves at different points on a sliding scale of praise through to criticism; that is, between praising the Constitutional History for its depth of scholarship and pioneering methodologies, on the one hand, to criticising the work for its present‐minded approach and whiggish agenda, on the other. The aim of this discussion is to strike a balance between these two extremes. While it acknowledges the undoubted flaws of Stubbs's narrative, it also argues for a more nuanced and holistic approach to his work. It suggests that the taint of whiggism has for too long acted as a barrier to a true appreciation of the scholarly merit of the work, merit that extends beyond simply acknowledging its ambition, originality and legacy. The discussion considers some key areas of parliamentary development between c.1290 and c.1406 and notes the continued synergies that exist between what Stubbs wrote 140 years ago and current interpretations and understandings.     

North Korea's diplomacy to engage the United States

For the past two decades relations between North Korea and the United States have become increasingly hostile. Pervasive and vociferous criticism of North Korea's dangerous and seemingly irrational behaviour has focused on Pyongyang's use of nuclear brinkmanship, violations of human rights and general disregard for the well-being of the North Korean people, as exemplified by its decision to develop a nuclear programme while the country suffered from widespread famine. However, an alternate view put forth by both American and South Korean experts on North Korea holds that Pyongyang's use of the nuclear wager primarily has been intended to demand Washington's attention in order to initiate bilateral talks and eventually normalise relations with the US. Certainly, Pyongyang's actions have been ham-fisted at times; however, its commitment to the goal of normalisation has been unwavering. The current controversy regarding North Korea's nuclear programme may serve as a necessary step to build trust between Washington and Pyongyang and might continue for sometime, given the short history of direct engagement. However, one thing is clear: neither Washington nor Pyongyang can afford to go back to the starting point.     

Marie Corelli and the Value of Literary Self-Consciouness: The Sorrows of Satan,Popular Fiction,and the Fin-de-Siècle Canon

Marie Corelli's The Sorrows of Satan (1895) presents a paradoxical test case for the practice of academic literary criticism. The best-selling work of fiction of the nineteenth century, the book was demeaned by Victorian critics and has been long ignored by criticism since. In spite of Corelli's recent mini-revival, the formally self-conscious properties of this work deserve further examination: the text insistently foregrounds the act of literary criticism and demands that the reader's attention is focussed on not only the content of the narrative but also the nature of the procedure of reading. Such a strategy allows Corelli's romance to participate safely in the kinds of literary transgressions enacted in the work of her since-canonized contemporaries such as Thomas Hardy and Oscar Wilde. The narrative mode warns against the production of the wrong kinds of readings of the narrative, inoculating its consumer against the corruption suffered by many of Sorrows's characters – and by the readers of the kinds of contemporary fiction Corelli seeks to warn against. As a consequence, The Sorrows of Satan, while exiled from the canon, shows itself to be surprisingly representative of the image of fin-de-siècle literary culture constructed by its afterlife. Like so many 1890s fictions, it is a work of art about the work of art, and dramatizes such by now familiar late-Victorian tropes as: decadence, moral relativism, debates over literary taste, realism, post-Ibsen drama, the sexual double standard, the marriage market, the New Woman, motherhood, hysteria and female pathologies, degeneration anxiety, mesmerism. The Sorrows of Satan's status as forgotten best-seller, a ‘great bad book’, asks difficult questions about the relationship between literary criticism and literary pleasure.     

Books Received

This article is an analysis of Argentine writer Jorge Luis Borges's short text “Kafka and His Precursors.” Although appearing to be an example of literary criticism, Borges's essay is in fact the exploration of a certain logical paradox. It is a paradox that is to be found throughout Borges's work, with the result that “Kafka and His Precursors” can be read as a disguised literary manifesto on the part of Borges. I also explore the consequences of Borges's essay for thinking about questions of cultural transmission. I argue that Borges’ work lives on—like those literary, religious and philosophical traditions he admires—because its most profound subject is the relationship it has with the person who reads it.     

The reader as writer,the author as con artist: Nuala O'Faolain and the criminal narratives of Chicago May

Nuala O'Faolain seeks to revise the life story of May Churchill Sharp, an international con woman born in Ireland, in hopes of establishing a feminist identification with her. But O'Faolain's claim for her writing of a kind of authorial authenticity ultimately precludes an identification with Sharp, as Sharp's narrative – like all narratives – is a criminal narrative which renders feminist ‘authenticity’ impossible to achieve, something O'Faolain herself refuses to acknowledge.     

The Realization of Harmony in a Broken World: Reconsidering the Role of Ethics in Milbank's Ontology of Peace

Milbank's Christian ontology of peace indicates a way out of the contemporary crisis of Western democracies. Milbank argues that politics should have a positive and communitarian goal, and that contemporary liberalism fails insofar as it is preoccupied with the limitation of evil, and insofar as it presupposes a fundamentally egoistic anthropology. Milbank's alternative harmonizing vision of reality and humankind has been criticized for preempting all too quickly a harmony which has not yet been realized, and for thereby undermining the crucial role of reactive ethical laws and human work for the realization of true harmony in a world marred by a tragic dimension. Contrary to this criticism, this article advances the claim that Milbank pays too little attention to the ways in which real harmony is already being realized in the world, which is why he presents his ontology as an ideal toward which an entire society should work, under the guidance of ethical laws. A reading of Schillebeeckx's more positive reception of liberalism will serve to illustrate the political consequences of a position that focuses more on the already realized harmony in this world than on an ideal harmony.     

After Post‐Development: On Capitalism,Difference, and Representation

The post‐development school associated with the thought of Arturo Escobar treats development as a discursive invention of the West, best countered by ethnographic attention to local knowledge of people marginalised by colonial modernity. This approach promises paths to more equitable and sustainable alternatives to development. Post‐development has been criticised vigorously in the past. But despite its conceptual and political shortcomings, it remains the most popular critical approach to development and is reemerging in decolonial and pluriversal guises. This paper contends that the post‐development critique of mainstream development has run its course and deserves a fresh round of criticism. We argue that those committed to struggles for social justice must critically reassess the premises of post‐development and especially wrestle with the problem of representation. We contend that Gayatri Spivak's work is particularly important to this project. We review some of Spivak's key texts on capitalism, difference, and development to clarify the virtues of her approach.     

Patrick O’Farrell and the Irish History Wars, 1971–1993

While Patrick O’Farrell's achievements as an historian of the Irish and of Catholicism in Australia are well recognised, little attention has been paid to his significance as an historian of Ireland. This article takes his two major Irish monographs, published in 1971 and 1975, and considers how they influenced leading Irish political historians of the 1970s and 1980s. In doing so, the article examines the crisis created for historians by the Northern Ireland Troubles. It demonstrates that the work of O’Farrell, which called into question the primacy of politics and of the nation state, helped open up new avenues for the analysis of Irish culture and identity. Yet, at the same time, such an approach challenged the republican reading of Irish history as a struggle against colonialism, and thus O’Farrell's work attracted severe criticism.     

Contemporary ‘Folk’ Dynamics: Shifting Visions and Meanings in the Goalpariya Folk Music of Assam

Abstract

Goalpariya music is a genre of folk music sung primarily by women. Common among the rural labouring classes, the songs deal with women’s desires, emotions, sensuality, and longings. Since the 1950s, major transformations have emerged within the performative space of the folk tradition, especially with the coming of Pratima Barua Pandey into this field. From an original mundane setting, Goalpariya music has now moved to an international musical performance context. This article explores this transition of the music from the ‘common folk’ to a ‘respectable’ platform. The article analyses how folk traditions may undergo a range of shifts to adapt to various social, economic, and cultural forces. Paradoxically, these transformations also lead to the emergence of a politics of authenticity, leading to a questioning of the concepts of tradition, authenticity, and cultural purity. The findings of this study are the outcome of fieldwork conducted in Gauripur and Guwahati in Assam, India.     

Babi–Baha'i Expansion and “Geo‐Cultural Breakthroughs”

Utilising the concept of “geo‐cultural breakthroughs,” the article briefly describes the process of Babi‐Baha'i expansion, tracing the way in which the early Babi movement was later transformed into the Baha'i Faith, and the Baha'i movement itself underwent a succession of massive transformations in the range and diversity of its following. Three main stages and three “worlds” of expansion are identified: (i) an initial “Islamic” stage (1844–c. 1892), in which Babism and the early Baha'i movement were largely confined to the environing culture and society of the Islamic Middle East and its cultural extensions; (ii) an “international” stage (c. 1892–c. 1953), during which Baha'i missionary expansion succeeded in transcending the religion's Islamic roots, in particular by gaining a small but intensely active Western following; and (iii) the present “global” stage from about 1953 onwards, in which the Baha'i Faith has begun to assume the characteristics of a small‐scale world religion, with larger numbers of adherents having been gained, particularly in some parts of Africa, Asia, and Latin America, regions outside of both the religion's original Islamic heartland and the West.     

Selected Publications (in chronological order) by Fred B. Kniffen (1928-1980)

The coming of electricity to rural America in the interwar period seemed to offer prospects not just for economic development but also for remaking lives and for social transformation. This paper deals with the expression of such ideas from the folk music of that time, examining the representations of people and place found in 26 songs composed by the folkmusician Woody Guthriefor the Bonneville Power Administration in May 1941. After providing context about rural electrification, this paper surveys Guthrie's early career and the reasons why the Bonneville Power Administration employed him. The next sections of the paper consider Guthrie's Columbia River Song Collection, highlighting two narrative themes within them: migrants' tales and the notion of electrification as a progressive force for both regional and social transformation. The final section relates the contents of the songs to three different standpoints from which Guthrie, as narrator, shaped his songs: folklorist, radical minstrel, and social documentarist.     

‘Dark cognition’: W.B. Yeats,J.G. Herder and the imperfection of tradition

In this article I connect Revivalist politics in nineteenth-century Ireland to Enlightenment epistemology by exploring how the ideal of the Irish – or Celtic – folk tradition is embroiled in the problematic of theoretical modernity. I dispute Seamus Deane's ideological characterisation of the Irish tradition, emerging from his encounters with the work of Edmund Burke and Matthew Arnold, and propose an alternative characterisation using Johann Gottfried Herder's theories of the Volk and the origin of language. I show how, at a crucial point in European history, the folk tradition modelled a view of cognition and modernity, which stood apart from analytic rationalism and based itself upon a positive evaluation of the obscurity of sensation. Finally, I read this literary-aesthetic model of what Herder called ‘dark’ cognition into Yeats's early folkloric works of the 1890s, especially The Celtic Twilight; and I make the argument that this often-neglected text does not represent a degeneration of folkloric integrity into Celtic mysticism but a comedic trait of folk modernity.     

Trance and visibility at dawn: racial dynamics in Goa’s rave scene

The geography of music has recently turned to questions of embodiment and materiality to account for the sensuous specificity of music. Extending this work, this article emphasizes the constitutive work that embodied experience of music and space does for social differences such as race and gender. It criticizes what is perceived as a limited conception of embodiment in non-representational theory. Using ethnographic evidence from the rave tourism scene in Goa, India, it is argued that precisely during the scene's most mystical and hedonistic moments (what will be called the ‘morning phase’), racial dynamics are at their starkest. It is crucial to understand that racial difference is emergent and not automatic. The article then suggests a Deleuzian musicology which conceives music not as form, language or ideology, but as force. Accounting for the richness of musical materiality involves examining the networks of power and inequality through which it necessarily operates.     

Common Sense Community? The Climate Challenge Fund's Official and Tacit Community Construction

Abstract

The Climate Challenge Fund (CCF) is the Scottish Government's flagship initiative addressing the twenty-first century's core concern: environmental challenges. The CCF seeks to reduce carbon emissions explicitly through community. Building on community's long and strong social science heritage, this paper outlines the CCF's tacit and unspoken community assumptions. Through these assumptions, this policy (re)produces, prefigures and performs a particular form of community, this being community's elision with locality, and synonym for place, rurality or neighbourhood. Taking on these tacit assumptions is demonstrative of their belief in the effectiveness of such community. After exploring the CCF, its source and structure, the paper delves into empirical work situated at all levels of the CCF's funding chain. It then teases out how the assumptions around – and the need to demonstrate – community help determine the projects selected, and subsequently the vision of community chosen, enacted and mobilised. The CCF (re)produces a particular vision of community with implications for who receives funding, how environmental action is framed and also for the future of community in Scotland.