Agamben's geographies of modernity

This paper examines the geographical underpinnings of Giorgio Agamben's theory of sovereign power. Reflecting on Agamben's attempt in developing a unified theory of power, I highlight the eminently spatial nature of two of the key concepts that mark his argument: the structure of the ban and the camp as a paradigm of modern politics. In particular, I analyse how the spatialisation of biopolitics finds in the camp the ideal site for the definition of endless caesurae in the body of the nation, and for the definition of population as a merely spatial concept. I claim, therefore, that the biopolitical state machine activated by the recent war on terror is not only an autopoietic machine, but that it is also at the origin of new geographies of exception that are imposing a new nomos on global politics: a nomos within which decision is produced by a permanent state of exception, and where law exists only through its endless strategic (dis)application.     

Coexistence in modernity: A euromed perspective

Does cultural diversity lead to a want of respect, intolerance, and violence? Is religious culture in Islamic or other states tending towards a territorial imperative, denying any democracy a chance? Is globalization threatening value, identity and meaning? In the wake of 9/11, war on the Taliban's Afghanistan and Saddam's Iraq, the lingering Israeli–Palestinian tension, and what appear to be re-discovered genres of brutality—such as suicide bombings, beheadings, the wanton destruction of churches and other temples—this article teases out some historical and philosophical contexts in an attempt to assuage contemporary uncertainties. Distinguishing between the Mediterranean and the Middle East as two different realities, the article discusses how seemingly bewildering new theses and premises in a post-war, post-colonial, post-communist world may be read and possibly reconciled during the twenty-first century.     

Stitching modernity: the textile work of Fortunato Depero

Fortunato Depero (1892–1960) was a Futurist artist who worked in a variety of artistic mediums, from painting and graphic design to furniture and textiles. His work in textiles, created and produced in close collaboration with his wife, Rosetta Amadori, can be considered the most important development in his artistic career, as it comprised a large portion of his creative production. Yet this work has been largely overlooked. Many reasons explain this oversight, including categorizing inconsistencies – for example, his textiles have been described as embroidery, needlework, tapestry, patchwork, and cloth mosaic – and the persistent relegation of textiles to the realm of crafts and domestic arts rather than art, which has meant that his work in textiles has not been a priority for scholars and conservators of Futurism. This paper places Depero's textiles within the context of early-twentieth-century modernist artistic activities, and demonstrates the centrality of his textile work to his artistic oeuvre.     

Subaltern technologies and early modernity in the Atlantic World

Colonial Latin American and Atlantic-world scholarship that does not explicitly concern indigenous, black, and other subaltern individuals and groups continues to marginalize, if not completely ignore, them. This lingering, if often inadvertent, Eurocentrism endures, according to this essay, for several reasons, including a preoccupation with modernization, notions of ‘nature’ that make it easy to ignore ‘culture,’ and models of culture that presume fixed boundaries rather than permeability. This essay suggests that a focus on ‘technology’—capaciously defined to include phenomena such as hammocks and chocolate, as well as mining and storm management—is one way out of this predicament. Investigating the myriad technologies that dominated colonial Latin America reveals the centrality of subaltern actors throughout the region and the Atlantic world more broadly. It also affords a fruitful way to explore the relationships between material and symbolic culture in the context of an ‘entangled’ early modern world.     

陈独秀早期社会思想的现代性研究

陈独秀的思想发展可以分为三个阶段,很有必要对陈独秀早期社会思想进行研究.陈独秀早期社会思想的主要内容可概括为四个方面:个人与社会;经济与社会;政治与社会;社会发展.陈独秀早期社会思想的现代性意义主要表现在两个方面:一是陈独秀早期社会思想在近代思想史上的历史地位:二是陈独秀早期社会思想对于民族文化发展方向的启示.     

Blood talks: Eugenic modernity and the creation of new Japanese

In fin-de-siècle Japan, the ideal of "eugenic modernity," or the application of scientific concepts and methods as a means to constitute both the nation and its constituent subjects (New Japanese), crystallized in the space of imperialism. Three of the main themes explored are the application of eugenic principles to make connections between biology, kinship, and the plasticity of the human body; to contemporize historical stigmas; and to promote "pure-bloodedness" and "ethnic-national endogamy" as cultural ideals.     

Embodying modernity: reading narratives of Indian women's sexual autonomy and violation

References are often made in contemporary Indian discourse, both popular and academic, to the ‘new Indian woman’, a subject position that is seen as coterminous with the emerging identity of the Indian nation as modern – the ‘new India’. This article unpacks key discourses that construct the ‘new woman’ in the public imagination and suggests that the modernity of this imagined figure is founded upon a notion of autonomy that is deeply embodied. While the characteristics of this embodied modernity challenge influential feminist arguments as to the ‘shallow’ modernity of the ‘new Indian woman’, it nonetheless has problematic implications from a feminist perspective. The narrative shaped by these discourses around the question of what it means to be modern not only perpetuates an historically pervasive reductionism in which woman is seen to be defined and determined by the corporeal but also, and more problematically, constructs a boundary around the notion of modern womanhood that excludes women whose bodily autonomy has been compromised, for example through sexual assault. This narrative exclusion is perpetrated in at least three ways: through a discursive rendering of the woman as passive, the objectification of the woman, and a narrative structure that mimics the act of violation. Such erasure of the autonomy of sexually violated women is not inevitable, however, and an analysis of two ‘counter-narratives’ demonstrates how discourses of rape may both reinscribe the autonomy of such women and re-orient the reader to a position of empathy rather than opposition.