Symbolism and Irony in Three Novels by Kosmas Politis

Abstract

In a recent book, Mario Vitti has described Kosmas Politis as ‘emotionally the most highly charged novelist’ of the Generation of 1930. Vitti also points out that Eroica is ‘compositely organized down to the minutest detail’, despite the author's assertion that he wrote each instalment ‘on the presses’. In an attempt to account for the ‘magical’, ‘Poetic' quality of Politis’ writing as pointed out by Greek critics, Vitti investigates Politis' use of irony and of the interior monologue. My purpose in this article is to examine further Politis' ironical approach and to make some preliminary remarks about his use of symbols and imagery (a subject on which far more work has to be done), in the hope that, in so doing, I shall shed some light on the ‘emotionally charged’ and ‘highly organized’ nature of Politis' writing. For reasons of space and time I must confine myself to his first three novels, Lemonodasos (1930), Hekate (1933) and Eroica (1937).     

Concerning Thunderbolts

More than fifty years after the first edition of Thompson's seminal Motif-Indexof Folk Literature, we present an online search engine tailored to fully disclose the index digitally. This search engine, called MOMFER, greatly enhances the searchability of the Motif-Index and provides exciting new ways to explore the collection. This is enabled by our use of modern techniques from both natural language processing and information retrieval. The key feature of the search tool is the way in which it allows users to search the Motif-Index for semantic concepts, such as ‘mythical animals’, ‘mortality’, or ‘emotions’. This paper will explain the motivations for creating the search tool, explicate the production process, and show in a number of case studies how the search tool can be used to explore the index in innovative ways.     

Chopsticks,phone bells and farms: Fuyuko Taira's diasporic spatial practice

In this article, I revisit my earlier project on local poetry practices by Japanese ‘war brides’ from the Second World War and explore a creative, transnational home-making activity by focusing on one of my informants, Fuyuko Taira's senryu poetry. Drawing on theories of global space and diasporic home-making practices, I suggest that her engagement in senryu involves a transnational spatial practice through the use of familiar everyday language. While the experience of displacement among Taira and other so-called ‘war brides’ cannot be understood without a consideration of socio-historical and economic constraints that characterized their emigration, my aim here is not to analyse how Taira's senryu simply reflects her diasporic victimhood but to explore how she exercises her creative agency to make her new home familiar and habitable by engaging with the everyday poetry practice of alternation between ‘pause’ and ‘move’ in the midst of changing landscapes. I argue that to a member of the Japanese diaspora like Taira senryu can be thought of as a different mode of experiencing at once the local and the global in an organic way.     

Editorial: Social Spirituality: Monastic Cell or Hectic Street?

Abstract

What makes theology political? Is it the social location of the author, the sources drawn upon, or the content of the argument? Each of these three possibilities is theologically significant, but a little reflection proves none of them decisive in claiming the adjective ‘political’ for a theology. The ‘material production’ of theological works cannot, by itself, render one theology political and another apolitical; for all theological works share a similar ‘social location’ given the similar socio-economic reality of publishing. Whether or not theology is political, or adequately political, cannot finally be determined by material production, the authors' social location or the content of the argument per se. Such forms of apodictic reasoning cannot distinguish apolitical from political theology. It can only be a function of practical reasoning. It alone can advance the current stalemate among persons that theology should be characterized as ‘church’, ‘confessional’, ‘sectarian’, ‘liberatory’, ‘political’ or ‘public’. I argue that the best we can do to adjudicate these differences is to engage in, as Charles Taylor has so aptly put it, practical ad hominem arguments.     

Agamben and the Migrations of Glory

Abstract

In the American political imagination, there is a longstanding and wide-ranging discussion about the separation of church and state. Though Americans argue about whether it should be a ‘‘high wall,’’ or whether certain ‘‘breaches’’ in it might be desirable, they all take ‘‘separation’’ to describe an institutional arrangement. From Giorgio Agamben's perspective, however, ‘‘separation’’ is an image that conceals much more than it reveals about the religious character of the state and the global economy. Agamben traces ‘‘the migrations of glory’’ from church, to state, to global capitalism. For part of this task, Agamben accepts Michel Foucault's diagnostic approach to power. By one reading, certainly, governmentality has us in its grip. But now government itself is overshadowed by the power of global capitalism. While Foucault sought only to make us ‘‘a little less governed,’’ Agamben is interested in a deeper iconoclasm and a greater emancipation. According to Agamben, our less-than-free condition can be illuminated by reflection on: (1) the state of exception and the camp, which are only made possible by a form of idolatry in which the sovereign assumes to themself a power that they should not have; (2) On another of the ‘‘maps’’ drawn by Agamben, however, there is a further ‘‘migration of glory,’’ away from national sovereignty, toward postmodern global capitalism; (3) The Coming Community provides the barest sketch of Agamben's hope for a remedy, while his reading of Paul's Letter to the Romans in The Time that Remains brings a more visible kind of messianic expectation or vocation back into the discussion of political life. A concluding section discusses five sorts of questions that might be put to Agamben about the overall shape of his project.     

Grief as method: topographies of grief,care, and fieldwork from Northwest Arkansas to New York and the Marshall Islands

Abstract

When we grieve during fieldwork, our grief forms new geographies of knowledge production and emotion. In this article, I use autoethnography to theorize my grief during fieldwork following the death of my sister. I examine grief’s methodological implications using the concept of ‘grief as method,’ an emotionally-inflected practice that accounts for the vulnerability produced by grief. By centering vulnerability, ‘grief as method’ also urges researchers to consider the practices and politics of ‘caring with’ our research subjects and caring for ourselves, raising larger questions about the role of care in research. Furthermore, this article demonstrates how grief’s geographical features—its mobility, its emergence in new sites and landscapes, and its manifestation as both proximity and distance—shape ‘grief as method’ profoundly. I examine grief’s spatial implications by building on Katz’s ‘topography’ to theorize a ‘topography of grief’ that stitches together the emotional geographies of researchers, blurring both spatial divisions (‘the field’ vs. ‘the not-field’) and methodological ones (the ‘researcher-self’ vs. the ‘personal-self’). If we see grief as having a topography, then the relationships between places darkened by grief come into focus. Moreover, by approaching grief methodologically, we can better understand how field encounters—relationships between people—are forged through grief. ‘Grief as method,’ in offering a spatial analysis of grief’s impact on fieldwork, envisions a broader definition of what engaged research looks like and where it takes place.     

Honor and crisis: the chivalric assumptions of Italian intervention in 1915?

The author postulates the use of chivalric language and tropes as part of the interventionist rhetoric that helped bring Italy into the First World War. Despite obvious affinities between the culture of dueling and the ‘virile assumptions’ of the interventionists, including their own participation in many duels, a review of the three major interventionist newspapers reveals the presence of surprisingly little chivalric language (sfida, vertenza, duello) during the crisis. This absence is explained primarily as a result of the rapid and effective dehumanization of the central powers, which disqualified them as gentlemen worthy of chivalric challenge. In addition, the use of the term ‘honor’ was found to be complicated by continuing confusion over Italy’s possible ‘betrayal’ of the Triple Alliance, which only faded after the treaty was finally rescinded in May 1915.     

The regard of the first man: on Joseph Addison’s aesthetic categories

This study examines the sources that could inspire Joseph Addison’s influential ‘aesthetic’ triad of ‘great’, ‘uncommon’, and ‘beautiful’, as elaborated in his essay-series The Pleasures of the Imagination in 1712. After identifying a philological problem in the interpretative tradition which gives rise to Addison’s triad from a section of Ps Longinus’ Peri Hypsous, further three seventeenth-century texts – Thomas Burnet’s Telluris theoria sacra, Dominique Bouhours’ Les entretiens d’Ariste et d’Eugène, and Baltasar Gracián’s El Criticón – are presented in order to reconstruct a ‘reading glass’ through which Addison could peruse and understand the Longinian section, and then could create his ‘aesthetic’ triad. As a result of this reconstruction, the possible connection between Gracián’s allegorical novel and Addison’s essay can cast more light on the complex and insufficiently discussed relationship between theology or devotional literature and the emerging modern aesthetic discourse. From this angle, Addison’s ‘man of polite imagination’, that is, the homo aestheticus in the modern sense of the adjective, seems to be the heir of Gracián’s ‘first man’ who has the privilege of regarding the created world in a new light, and, as Addison’s aesthete, of discovering its greatness, novelty and beauty in ‘innocent pleasures’.     

Re‐writing the ‘book of blots’: Critical reflections on histories of technological ‘failure’

Abstract

Although an interest in technological ‘failure’ has become prominent in recent history of technology, historians have not always clearly articulated the presuppositions of attributing ‘failure’ to technology. This paper undertakes a critical examination of two main historiographies of ‘failure’: ‘failure’ as categorization of ‘pathological’ technologies that clearly demarcates them from ‘successes’, and ‘failure’ as a mundane and inevitable prerequisite of subsequent ‘success’. To reconcile these divergent analyses, this paper argues that historians should not treat ‘failure’ as residing in the technology itself. It is rather a matter of imputation according to socially‐embedded criteria of what constitutes success and failure. Accordingly judgements of ‘failure’ are prone to interpretive flexibility in a manner that is not necessarily settled by any process of ‘closure.’ I will argue that any ‘failure’ of technologies should be located in the socio‐technical relations of usage, especially in the expectations, skills and resources of human users. The moral irony of attributing responsibility for ‘failure’ to technologies themselves rather than to humans users will thereby be highlighted.     

Western Arrernte Pmere Kwetethe Spirits

This article explores the difference between the meaning and use of TGH Strehlow's term pmara kutata (his spelling) and of pmere kwetethe (modern spelling) in contemporary Western Arrernte society. The expression pmara kutata features prominently in TGH Strehlow's oeuvre. He defined pmara kutata, as the ‘centre of a local totemic clan’, ‘sacred site’ and the ‘everlasting home’ where an important local totemic ancestor originated and /or passed to his last rest. Interestingly enough the term pmara kutata or pmere kwetethe seems to have undergone a semantic shift. In contemporary Western Arrernte society pmere kwetethe is used to denote a range of spirit beings with different characters that dwell on and in the landscape. In English the expression pmere kwetethe is sometimes glossed as ‘the spirits of the land’ or ‘the invisible people‘.     

Tom Stoppard’s Big Picture: The Chaos that is Our World

Abstract

Issues arising from discussions regarding the ‘two cultures’ of science and art are many and varied. Tom Stoppard’s very active utilization of science in many of his plays has resulted in his work — especially the quantum mechanics-informed Hapgood and the chaotics-informed Arcadia — being held up as paradigmatic of one science/art position or another. Often, critical approaches to these plays involve a checklist of scientific facts, implying that the goal of such art is to serve as a delivery device for scientific breakthroughs. While plays, novels, and movies of various sorts may have such goals in mind, Stoppard’s plays do not comfortably fill that agenda, critical arguments to the contrary notwithstanding. Neither do Stoppard’s plays show particular interest in engaging any debate about the superiority of one ‘culture’ over the other. In his two ‘science plays’ in particular, what Stoppard offers is an enrichment of both science and art through metaphorical intertwinings that suggest experience is best served when both camps collaborate. The bigger picture that results argues an overlap in epistemology, namely revealing the uncanny similarity in which artist and scientist approach the material that is our universe.     

The rediscovery of ‘the national’ in the 1990s – contexts,new cultural forms and practices in reunified Germany

This article examines how and in which societal and political contexts nationhood is expressed and symbolised in reunified Germany. This ‘rediscovery’ of nationhood since the 1990s mixes new and old motifs of the cultural repertoire of ‘the national’ for different purposes. Three main contexts triggered a rediscovery of ‘the national’ after 1989: reunification, immigration and the retrenchment of the social state. I argue, by analysing ethnographic material and political discourses, that these contexts, on the one hand, rearticulate old forms of ethnic and cultural nationalism and, on the other hand, create new images and symbols of an open civic society and immigration country. There are ‘playful’ forms, such as campaigns of nation branding, that symbolically include the ‘productive’ and ‘useful’ immigrant into the national project. Moreover, such campaigns serve to legitimatise the downsizing of the national state that – according to a neoliberal attitude – relies on a new community spirit of entrepreneurial, ‘activated’ citizens who ‘help themselves’. Thus, focusing on these pluralised renationalisation processes makes evident how polyvalent ‘the national’ still is. It can be employed by those who attempt to ‘reunite’ the East and West Germans, by businesses to sell their goods and ideas and by almost any political orientation, be it right‐wing or left‐wing.     

ONE NAME,MANY GROUNDS: LAND,MARRIAGE AND SOCIAL STRUCTURE AMONG THE OROKAIVA OF PAPUA NEW GUINEA

It is proposed, through an examination of published materials on the Orokaiva, that established and even competing models and concepts of ‘kinship’ and marriage (generalized and direct exchange, agnatic descent, clan, balanced reciprocity) have little or no explanatory power since they either do not fit the published facts or they predict the same results, despite published assertions to the contrary. An hypothesis linking relationship terminology, marriage ‘systems’ and land use is proposed. Some features in the ‘system’ of ‘kinship’ terminology appear to be expressive of the ideology of gardening rather than ‘kinship’ and marriage per se.     

Mapping the soft city: using cognitive mapping to respond to London-based literature and explore the construction of teenage place-related identity

ABSTRACT

Raban (1974. Soft City: What Cities Do To Us, and How They Change the Way We Live, Think and Feel. London: Hamish Hamilton, 2) distinguishes between the ‘hard’ city of statistics and maps, versus the ‘soft’ city of the ‘creative play of urban living’, ‘an art’ which enables urbanites to mould cities in their desired image. This case study reviews approaches to conceptualising urban space, exploring practical tasks through which London students can engage with, and write about, their place-related identities in order to enhance their readings of the rich range of literature set in their city. Developing an unconventional approach to teaching two A-level (16–18 years old) English Literature coursework texts – John Gay’s (1716) Trivia and Geoff Nicholson’s (1997) Bleeding London – it was hoped that students might be helped to ask whether a comprehensive (‘hard’) knowledge of London can ever be achieved. This case study is primarily an account of the students’ own London maps, a creative task designed to help them engage thematically with the coursework texts.     

‘Le mot déclin est presque trop doux’: Michel Houellebecq’s (Euro)déclinisme

ABSTRACT

Michel Houellebecq’s views on the European Union have been consistently negative, recently declaring in an interview that anti-Europeanism is his ‘only political engagement.’ Houellebecq’s work takes for granted civilizational decline, what Oswald Spengler called the ‘decline of the West’, and regards the EU, described in Submission as a ‘putrid decomposition’, as central to this vision. The only way to revitalise Europe and to reverse this decline, Submission suggests, is by reinstating the traditions and moralities that have been eradicated in Europe by post-‘68 moral and sexual liberalisation. On this view then, only those cultures untouched by progressive politics can rebuild Europe and in Submission only the Muslim Brotherhood can provide ‘the moral and familial rearmament of Europe.’     

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.     

Indonesian domestic workers and the (un)making of transnational livelihoods and provisional futures

Doreen Massey (2005. For Space. London: Sage.) argued that space and time should not be reduced to a bounded locality of the ‘here and now’ and instead proposed re-imagining ‘space as simultaneity of stories-so-far’. We build on her argument to suggest that an appreciation of migrant aspirations and future trajectories require us to go beyond simultaneous ‘stories-so-far’ but also consider ‘stories-to-come’ which may build upon, divert from, or even unmake the ‘stories-so-far’. We apply these ideas to our study (based on a questionnaire survey and in-depth interviews) of the transnational journeys traced by Indonesian domestic workers employed in Singaporean middle-class homes. We argue that socially and culturally specific notions of risk can work to propel and sustain migration into retrogressive occupations like domestic work, as well as disrupt dominant narratives around migrants as strategic actors, necessarily in control of their trajectories and driven by their migration plans. The calculus of risk-taking and aspiration on which transnational livelihoods are predicated is one that takes into account both situatedness in and connectedness across different places (in short simultaneous ‘stories-so-far’). At the same time, future ‘stories-to-come’ may entail both subtle shifts and constant (re)negotiations that propel individual life stories unto different pathways.     

Racialising global relations: the Rwandan genocide and the ethics of representation

At a time when the historical experience of the Rwandan genocide continues to be invoked to imagine and affirm international responsibility for the suffering of others, this article examines one way in which this event has been made to mean. Through a critical reading of Hotel Rwanda (a feature film) and Shake Hands with the Devil (a memoir), the article examines how the Rwandan genocide has been framed as an event of ‘white’ Western racism towards ‘black’ African injury. Without disputing the veracity of this explanatory framework, this article interrogates its representational politics and ethics. I problematise its continued use of inherently discriminatory racial categories, demonstrate its Eurocentric nature and call for a mode of understanding the ethical significance of the Rwandan genocide that is not limited to an already existing global relation between suffering ‘black’ bodies and potential ‘white’ saviours. In critiquing these texts and this discursive framework, my aim is to enable ways of coming to terms with the genocide that can accommodate the complex connections that do and may exist between non-Rwandans and the 1994 Rwandan genocide.     

Seeds: Contracting the Audience in a Play about Science

Abstract

In pursuing the question ‘what can scientists learn from theatre?’ Particularly, ‘what can scientists, as scientists, learn from theatre?’ this paper argues that science lacks a normative framework that theatre is capable of providing. Despite science’s well-earned epistemic reputation, there is adequate reason to question its ethical reputation, particularly at the point where cutting edge scientific technology impacts society. I consider science as operating in four categories: the scientific method; the scientific hypothesis; the scientific experiment; and the scientist’s personal character. The realms of the scientist’s hypothesis and personal character are those where social pressures are reciprocally exerted, where imaginative play mentality and epistemic values are most in evidence. Theatre can examine these realms effectively because it is able to use narratives that appeal not only to logical and social moral judgements but to emotional and visceral responses, so as to situate science in the social context in which the pressures of law, funding, experimentation, society, and personal ambition converge in ‘the game of life’.

This can be seen in the theatrical process known as ‘contracting with the audience’. I point out a spectrum of traditional narrative tropes by which science makes “contracts with” audiences. The paper draws on theories of entrainment and theatrical game-play from Peter Stromberg and Philippe Gaulier, as well as my own practice and research into the process of contracting with the audience, to propose how to reach beyond tradition and to shift normalising contracts “outside the box”. To illustrate my proposition, I examine the play Seeds by Annabel Soutar as directed by Chris Abraham for Crow’s Theatre and Theatre Porte Parole. Seeds follows the controversial court battles of Saskatchewan farmer Percy Schmeiser against agricultural-biotech corporation Monsanto, which sued him for patent infringement of its Genetically Modified Organism Roundup Ready Canola. Seeds helps its audience define a public arena for discourse even as it brings to our attention the factors that make this difficult to do, while making an excellent contribution to the genre of ‘Documentary Theatre’. It is a successful contract with the audience that creates a public forum for discussion about contemporary ethical debates in science, thereby merging artistic ambiguity and scientific theory.