Godot’s Shakespeare

While the connection between Samuel Beckett’s Waiting for Godot and King Lear has become something of a critical commonplace, references to other Shakespeare plays can also be found throughout. This essay traces Godot’s debt to two plays in particular. First it argues how Godot not only draws on Hamlet’s graveyard scene for macabre imagery, but how it also construes an extended meta-theatrical parody of Hamlet’s soliloquies about the contrast between acting and talking/thinking. The second half of the essay proposes a number of connections with The Tempest, and specifically with its “salvage and deformed slave” Caliban. It argues how the figure of Caliban not merely functions as a model for a colonial power-dynamic that can be seen to operate here and elsewhere in Beckett, but how Caliban is equally significant as a lyrical figure whose great speech about sleeping, waking, and dreaming informs Beckett’s play in a number of ways.     

Antiquarianism,archaeology, and aporetic immanence in Beckett’s prose

Beckett derides those antiquarians unaware of “the rupture of the lines of communication” between subject and object in his 1934 essay “Recent Irish Poetry”. However, Beckett will come to incorporate into the late prose specific terminology used by archaeologist, including those involved in the Ordnance Survey of Ireland, who were contemporaries of the same antiquarians he scorns so contemptuously in his early career. This paper traces and examines the Irish antiquarian elements in relation to megalithic archaeology in Beckett’s prose. The elements of antiquarian archaeology in Beckett function to present the existence of those populating the work as mediated by the aporia between ancient and modern epochs. Allusions to antiquarian and archeological terminology contribute to the issues of representation in Beckett’s work. Instances where historical material resides in Beckett’s prose will be analysed through the logic of reverberation. Based on the physics of sound, it will be argues that the fragments of historical material act like artefacts which do not represent historical discourse but reverberate within an aporia of chronological time.     

“Machiavellian” Instruction: Why Hesiod’s Ainos Has No Moral

Hesiod’s fable (ainos) of the hawk and the nightingale, addressed to kings, notoriously has no moral. Its depiction of a hawk carrying off a nightingale, preaching the futility of either resistance or pleading, appears to communicate the counsel, commonly designated as “Machiavellian,” that a ruler must know how to imitate a beast as well as a man. Such instruction—which advises that unjust actions are justifiable and necessary for a ruler—is clearly at odds with Hesiod’s explicit exhortations to his brother Perses to work hard and avoid hubris, and his caution that unjust kings or lords (basileis) will be punished by Zeus. I argue that Hesiod’s addressing the fable to kings “who themselves have understanding” explains the lack of a moral. To substantiate my claim I compare Hesiod’s and Machiavelli’s ranking of intellects, and illuminate Hesiod’s position with particular reference to and comparison with Machiavelli’s Prince, and examples drawn from the Old Testament and Old Irish law.     

This Is Not an Improvisation: Letitia Landon and the Slipperiness of Taxonomy

ABSTRACT

Writing in 2007, in The Wordsworth Circle, Jeffrey Robinson remarked on the “ephemerality” of improvisational poetry, its fundamental resistance to being “preserved.” Printed poetry is typically regarded as “fixed” and static: what any poem represents as improvisation is, at best, only a record, executed in a fixed medium, of a performance whose infinite variability is inherent in the nature of improvisation itself. Partly an homage to Rene Magritte’s This is Not a Pipe (1928–29) and to Michel Foucault’s 1973 essay on that painting, and using as a test case The Improvisatrice (1825), the long poem by Letitia Elizabeth Landon, herself a devotee of interdisciplinary and multimedia performance, this essay considers the physical, structural, and methodological challenges and limitations posed to printed “word art” by works that purport to be, or aspire to the condition of, “improvisations.” The improvisatrice who is the poem’s narrator claims to be both a painter and a songstress, but her “speech,” captured and rendered in printed words by Landon (who ventriloquizes that speech), can neither “be” nor even “represent” a work produced (“performed”) in visual art or vocal song. In her long poem Landon effectively creates a literary trompe l’oeil, an illusion that depends for its “completion” upon the reader’s implied participation in that performative act of completion. In the process, Landon’s poem reveals the fundamental incompatibility of improvisational literary production with the performative nature of improvisation.     

“Words fail us”: Beckett,Leacock, and Johnson

ABSTRACT

This article will look at political treatments of language in Samuel Beckett’s early novel Watt and place the novel’s linguistic scepticism in conversation with three authors, the lexicographer Samuel Johnson, the language theorist Felix Mauthner, and the English-born, Canadian parodist Stephen Leacock. The paper will argue that Beckett, like Leacock, engages in Mauthnerian critiques of language, destabilising Johnsonian formulae for language standardisation. But while Leacock fails to develop the political implications of his critique of language, Beckett’s understanding of language standardisation is implicitly political, informed by Johnson’s conception of speech as the predicate of national identity, a standard for inclusion which Watt gleefully antagonises. Challenging nationalist calls for controls on language, Watt interrogates the ways that campaigns for linguistic unity will engender exclusionary attitudes towards the nonconforming and bar access to that speech and identity which falls outside of normative frameworks.     

The religious geography of Marvell’s “An Horatian Ode”: popery,presbytery, and parti-coloured picts

ABSTRACT

Marvell’s “Ode” (1650) is an English poem about a British problem – a problem further problematized by religion. The “Ode” lauds Cromwell’s Irish and Scottish campaigns, but English responses to these “colonial” wars were in reality complicated by protestant infighting among presbyterians, independents, and sectarians. Writers like Milton and Nedham rallied English support for Cromwell’s Irish campaign by recycling Spenserian stereotypes of Irish catholic barbarity. But Milton and Nedham also undercut English protestant unity by flinging these same anti-catholic stereotypes at Scottish presbyterians in Belfast and Edinburgh. Departing from previous studies, this article argues that Marvell’s “Ode” eschews Milton and Nedham’s anti-Presbyterianism in ways calculated to elide, rather than divide, protestant communities. The article explores how the “Ode” presents Cromwell’s Irish and Scottish campaigns as exclusively anti-catholic (rather than anti-presbyterian) crusades, comparing Marvell’s presentation of Cromwell in the “Ode” with his identification of Cromwell as an anti-catholic crusader in “First Anniversary” (1655). Both poems anticipate in this respect Marvell’s later anti-catholic, but pro-nonconformist, approach to Ireland in Rehearsal transpros’d (1672–1673). The article is therefore concerned to root Marvell’s post-Restoration commitment to protestant tolerationism within the anti-catholic language of the “Ode”.     

From the logic of ideas to active-matter materialism: Priestley’s Lockean problem and early neurophilosophy

ABSTRACT

Empiricism is a claim about the contents of the mind: its classic slogan is nihil est in intellectu quod non fuerit in sensu, “there is nothing in the mind (intellect, understanding) which is not first in the senses.” As such, it is not a claim about the fundamental nature of the world as material. I focus here on in an instance of what one might term the materialist appropriation of empiricism. One major component in the transition from a purely epistemological claim about the mind and its contents to an ontological claim about the nature of the world is the new focus on brain–mind relations in the eighteenth century. Here I examine a Lockean trajectory as exemplified in Joseph Priestley’s 1777 Disquisitions Relating to Matter and Spirit. However, Locke explicitly ruled out that his inquiry into the logic of ideas amounted to a “physical consideration of the mind.” What does it mean, then, for Priestley to present himself as continuing a Lockean tradition, while presenting mental processes as tightly identified with “an organical structure such as that of the brain” (although he was not making a strict identity claim as we might understand it, post-Smart and Armstrong)? One issue here is that of Priestley’s source of “empirical data” regarding the correlation and indeed identification of mental and cerebral processes. David Hartley’s theory in his 1749 Observations on Man was, as is well known, republished in abridged form by Priestley, but he discards Hartley’s “vibratory neurophysiology” while retaining the associationist framework, although not because he disagreed with the former. Yet Hartley was, at the very least, strongly agnostic about metaphysical issues (and it is difficult to study these authors while bracketing off religious considerations). One could see Locke and Hartley as articulating programs for the study of the mind which were more or less naturalistic (more strongly so in Hartley’s case) while avoiding “materialism” per se; in contrast, Priestley bit the (materialist) bullet. In this paper I examine Priestley’s appropriation and reconstruction of this “micro-tradition,” while emphasizing its problems.     

Le Danger des liaisons: Censoring Laclos’s Liaisons dangereuses

When Pierre-Ambroise-François Choderlos de Laclos’s Liaisons dangereuses first appeared in late March 1782, it was an immediate succès de scandale. Laclos’s focus on his characters’ libertine psychology and his creation of a “monstrous” female villain, Merteuil, distinguished the novel from mainstream eighteenth-century French works. As an analysis of the novel’s reception demonstrates, Laclos’s suggestive portrayal of female sexuality and empowerment—and, specifically, of Merteuil—led first to the text’s association with dangerous works known as “mauvais livres” or “livres philosophiques” such as the Marquis de Sade’s Justine (1791) and the anonymous Histoire de Dom Bougre, Portier de Chartreux (1741), and later contributed to its classification as a pornographic work at the time the concept was invented in the early nineteenth century—and, ultimately, to its censorship in 1823. If the novel was devoid of explicitly sexual scenes, it nonetheless elicited such images in the minds of (at least some of) its readers and thereby caught the attention of the authorities. Les Liaisons dangereuses may be one of the most prominent historical cases of a book being banned not for what was depicted in its pages, but for the fantasies it inspired—providing a compelling twist to the adage that “pornography is in the eyes of the beholder,” or the mind of the reader.     

Antimodernist Antecedents in Early Canadian Modernism: Archibald MacMechan’s “A Ballade of Canadian Literature” and F.R. Scott’s “the Canadian Authors Meet”

ABSTRACT

Archibald MacMechan’s regular column in the Montreal Standard entitled “The Dean’s Window” (1906–1933) is an important index to educated antimodernist literary values. MacMechan brought his reading of world literature into his appraisals of the Canadian scene, through his groundbreaking work, Headwaters of Canadian Literature(1924). In a 1912 “Dean’s Window” column, MacMechan, a published poet, opened with a poem of his own, “The Ballade of Canadian Literature,” which anticipated F.R. Scott’s “The Canadian Authors Meet”—itself a seminal work of early Canadian modernism. By no means binaries, the degree to which modernism and antimodernism could resemble each other is manifest in MacMechan’s and Scott’s poems, even though Scott’s poem eviscerates the Canadian Authors Association, an organization of which MacMechan was a founding member.     

Tannery and Duhem on the Concept of a System in the History of Philosophy and History of Science

ABSTRACT

This article examines John Toland’s Reasons for Naturalizing the Jews (1714) by placing it alongside other elements of his engagement with Jewish history, Mosaic principles and wider “Hebraica” – specifically, an appendix to his Nazarenus (1718) and his Origines Judaicae (1709). Although Toland’s case for Jewish naturalization shows the strong influence of Locke’s case for political and religious toleration, and also of a general “mercantilism”, it is argued that one of its main characteristics is a philosophical naturalism, shown in its treatment of the human species as a whole. Furthermore, it is also argued that this same naturalism is evident throughout Toland’s engagement with Jewish history and Mosaic thought. Accordingly, when we “fold” these works into each other, we find each enhancing our understanding of the others – not just as examples of Toland’s treatment of “Jewish affairs”, but also as illustrations of a consistent conceptual materialism. To emphasize this, the article concludes by suggesting that the figure of Rabbi Simone Luzzatto, author of a 1638 plea for tolerance, provides an important clue in understanding the links between Toland’s political injunctions and the philosophical foundation on which they are built.     

“Godforsaken hole called … called …”: place,nation, and spatial crisis in Beckett’s fiction and drama

This essay explores how the figuring of place throughout the fiction and drama of Samuel Beckett registers and critiques narratives of place in Irish nationalist discourse. The Irish place-names of Beckett’s texts are read in relation to a toponymic re-territorialisation in post-independence Ireland, a process which enervated place identities synonymous with a Protestant culture and history. In this way, the essay argues that the celebrated “placelessness” of Beckett’s work and the collapse of spatial agency experienced by his protagonists is informed by the construction of nation-space in the country of the author’s early life. The preponderance of scatological place-names in the Beckett oeuvre is approached in these terms and read as a mode of resistance to the self-sacrifice to nation demanded in emplacement.     

The City Evita Built. Cinematic Childhood and Peronism in Luis César Amadori’s Soñemos (1951)

This article examines the under-studied film productions known in Peronist Argentina as “docudramas”. Placing documentary elements within a fictional plot, docudramas marked a significant change in the state propaganda machine and were used as a new vehicle to influence social habits. I focus particularly on Soñemos [Let’s Dream], a short film directed in 1951 by Luis César Amadori to showcase urban reforms. Through an analysis of Amadori’s docudrama in regard to its representation of the Children’s City built by the Eva Perón Foundation, I discuss relationships between entertainment, the constitution of a political hegemony, and modernisation. With film techniques such as the dissolve, Soñemos depicts the Children’s City as an enterprise capable of delivering material happiness and amplifies the narrative of a fairy tale come true promised by Evita’s social service programmes. Ultimately, the docudrama affirms the central role played by the state in the definition of the “right to a home” – from supportive benefactor to constitutive replacement.     

Le “serviteur” et “élu” d’Is 42,1 et ses disciples en Is 54,17ss

Abstract

En Is 41-48 le terme “serviteur” est appliqué à Israël selon le principe du transfert sur la descendance des Patriarches des titres davidiques du Ps 89 conformément à ce que propose le Ps 105. Les exilés effectuant un voyage semblable à celui d’Abraham sont appelés à jouer un rôle important dans la reconstruction. En Is 42,1 et 49-53 après de premières désillusions, le “serviteur” apparaît comme un individu qui doit servir de médiateur pour assurer le renouveau d’Israël en permettant particulièrement de lever les malédictions d’Is 6. En Is 54-66 le terme “serviteur” apparaît uniquement au pluriel, ces “serviteurs” se présentent comme les disciples du “serviteur.”     

Priestley on materialism and the essence of God

ABSTRACT

The paper focuses on Priestley’s complex views on the essence of God in connection with his materialism, elaborated in the Disquisitions Relating to Matter and Spirit (1777/ 1782). This issue is crucial if one wishes to get a clear idea of what Priestley’s materialism amounts to; whether it is mainly a thesis about the material grounds of the human mind (“psychological materialism”), or a more far-reaching one about what kind of substances exist in the world (a version of “ontological materialism”). The claim that God may be material allows for the most radical version of ontological materialism according to which everything in the world is material, without altogether denying that God exists. In fact, Priestley considers and partially defends at least three different views on the potential materiality of God: (1) an agnostic stance that is his official view, (2) materialism about God based on his own theory of matter, and (3) “gross” materialism about God. The aim of the paper is to analyze these three views, in particular concerning what kind of materialism they support and whether they can contribute to the consistent Christian materialism Priestley envisaged.     

Reflections on the History and Historians of the black woman’s role in the community of slaves: enslaved women and intimate partner sexual violence

Taking as points of inspiration Peter Parish’s 1989 book, Slavery: History and Historians, and Angela Davis’s seminal 1971 article, “Reflections on the Black Woman’s Role in the Community of Slaves,” this probes both historiographically and methodologically some of the challenges faced by historians writing about the lives of enslaved women through a case study of intimate partner violence among enslaved people in the antebellum South. Because rape and sexual assault have been defined in the past as non-consensual sexual acts supported by surviving legal evidence (generally testimony from court trials), it is hard for historians to research rape and sexual violence under slavery (especially marital rape) as there was no legal standing for the rape of enslaved women or the rape of any woman within marriage. This article suggests enslaved women recognized that black men could both be perpetrators of sexual violence and simultaneously be victims of the system of slavery. It also argues women stoically tolerated being forced into intimate relationships, sometimes even staying with “husbands” imposed upon them after emancipation.     

Identity predicaments and the music metaphor in contemporary Irish fiction

Abstract

Ever since Jimmy Rabbitte proffered his oft-quoted “niggers of Europe” line in Roddy Doyle’s The Commitments (1987), contemporary Irish culture, especially during the boom years, was characterised by an insistent revisiting of popular music as a metaphor for interracial and/or intercultural connection or understanding. Cross-cultural identification through music may be seen, in Werner Sollors’s memorable terms, as an eschewing of “descent” relations in favour of “consensual” relations. This essay revisits the music metaphor as it has manifested itself in Irish fiction since it was announced officially that Ireland had entered recession in 2008. Specifically, it explores Kevin Curran’s Beatsploitation (2012) and Joseph O’Connor’s The Thrill of It All (2014) arguing that, through their deployment of the music metaphor, the novels stage the murky politics of contemporary Irish iterations of consent and descent. By exposing the extent to which the rhetoric of Irish economic recovery is yoked to paradoxical invocations of volitional and ancestral Irishness, the novels urge their readers to consider the ways in which discourses of economic recovery work to reinforce and perpetuate patterns of exclusion and marginalisation established during the Celtic Tiger years.     

Guy Vanderhaeghe’s Notes Towards the “Big Book” of His Generation: Man Descending in the Sociopolitical Context of the 1960s and 1970s

Guy Vanderhaeghe’s historical novels starting with The Englishman’s Boy (1996) have been widely discussed and celebrated in academic books and journals, but his first collection of stories, Man Descending (1982), has been largely neglected by the academic critics. An examination of sociopolitical references, with a special focus on gender and masculinity, in a coherent group of these stories (“The Watcher,” “Drummer,” Cages,” “Man Descending,” and “Sam, Soren and Ed”), reveals a writerly personality that, while acutely sensitive to contemporary social and political developments, and itself deeply implicated in these trends, nevertheless stands uncomfortably apart from and assumes a critical attitude toward the prevailing, generally progressive, sociopolitical trends of the 1960s and 1970s. In the last story of Man Descending, the protagonist-narrator Ed emerges as an aspiring thirty-year-old author who has attempted, but could not finish, two novels of his society and times, and these early stories constitute Vanderhaeghe’s own notes toward a never fully realized “Big Book” of his generation of Saskatchewan men, born in the early 1950s, coming to young adulthood in the socially and politically transformative 1960s and 1970s, and surviving into an embattled early manhood in the late 1970s and early 1980s, a time, as it is depicted in these stories, in which the aspirations of 1960s progressivism were hardening into a conformist sociopolitical orthodoxy.