Oscar Wilde,Music, and the ‘Opium-Tainted Cigarette’: Disinterested Dandies and Critical Play

This article shows how the musical references in Oscar Wilde's novel The Picture of Dorian Gray are important to the identity of the dandy, especially in relation to the literary-critical work of Matthew Arnold, whose guiding presence in Wilde's oeuvre has traditionally been somewhat underestimated. Wilde's male characters, although famously fond of music, reveal ‘disinterestedness’ in earnest musical pursuits, similar to the ‘Indian virtue of detachment’ outlined by Arnold in his exploration of ‘The Function of Criticism at the Present Time’ (1864, in Arnold, Culture and Anarchy and Other Writings, ed. by Stefan Collini (Cambridge: Cambridge University Press, 1993), pp. 26–51). Furthermore, the critical attitude of the dandy–aesthete intersects with the implications that we can read into the posture of the lounging opium smoker. Extensive scholarship has already established the relationship between the East and opium in fictional works by Thomas de Quincey, Wilkie Collins, Charles Dickens and Oscar Wilde. Music is an essential ingredient to this literature, too, both in terms of its narrative presence and because it is a key element in an ongoing, nineteenth-century British exploration of how stylistic innovations could be represented as ‘music’. After disclosing the close connections between dandyism and those nineteenth-century composers whose lives and works were often represented as dandyish (Berlioz, Chopin and Schumann), the essay builds from the tradition of opium-inspired fiction. It suggests Wilde's debt to Dickens's The Mystery of Edwin Drood (1870), while also showing Wilde's innovations in making shifts in character and narrative voice into indicators of narcotic consumption.     

El pulso de Centro América a través de la novela

This article offers a new reading of Miguel de Unamuno's San Manuel Bueno, mártir. Critics have traditionally focused on the question of the protagonist's supposed lack of faith and sought to relate San Manuel's doubts in the novel to Unamuno's own religious views. Although this novel is very much concerned with religion, eschatology, and social issues, it is also an extremely sophisticated literary narration wherein the use of irony and ambiguity remains perhaps unequalled in Spanish contemporary literature. By considering the principles of linguistic pragmatics, this article shows that in her account of San Manuel's life, the female narrator tells the dramatic story of the love she and San Manuel felt for each other. By means of a complex use of ambiguity, Unamuno writes a novel that can be read in two different ways: the religious novel and the love novel.     

Lactantius's “Modern” Conception of Religio*

Scholars of religion sometimes argue that a distinctively modern conception of religion takes religion to be a trans-cultural category, divisible into “true” and “false” versions, of which Christianity is the core type. Thus, according to the so-called modern conception of religion, every culture has its own religion. Some are true (paradigmatically Christianity), some are false. This paper argues that these ideas were present in Lactantius's (c. 250–325) conception of religio. It shows this by presenting Lactantius's development of a theory of religio. This theory was the product of Lactantius combining one Ciceronian conception of religio and a Christian origin-story about where religio comes from. Lactantius used this theory to analyse Christianity and what he took to be its competitors.     

Hans Kohn: the idea of secularized nationalism

More than seventy years after its publication, Hans Kohn's 1944 The Idea of Nationalism is still regarded as a ground‐breaking contribution to the study of nationalism. This essay is aimed to highlight a significant theme in this work which has largely gone unnoticed, namely, the pivotal role of religion and secularism in Kohn's account of nationalism, and especially, in his persistent struggle for a ‘perfect’ nationalism. Kohn's conception – and personal experience – of the relationship of nationalism and religion will be examined through several stages of his turbulent life. First, as a young Zionist in Prague, when he parlayed Martin Buber's Zionist creed into an ethnic concept of nationalism. Then, in Kohn's journalistic writing in the 1920s and in his first theoretical works on nationalism in the years 1929–1942. Finally, Kohn's more mature and crystallized account of nationalism in his 1944 book will be revisited from the perspective of the nationalism–religion relationship.     

Children's agency and Islam: unexpected paths to solidarity

This ethnographic study analyzes the experiences of Palestinian children's agency of religion and its manifestation in religion as resistance while it is fighting the globalized hegemony. Children's agency of religion as resistance is cultivated within the debate of Islamist movements and the evolution of Palestinian national identity while it serves as a call for global solidarity. It is this creative construct of agency of religion that transcends borders and distinguishes itself from the old generation method of resistance. The differences between generations on this construct, as described by children's agency and their ability to transform, is constructed by particular meanings of Islamist symbols and rejects the assumption that children's roles are defined. The agency of religion as resistance evolves as the role of religion in national discourse is deliberated in secularism and sectarianism. In 2005/2006, I was awarded the Rockefeller Fellowship in the Anthropology Department of Johns Hopkins University. The award was for my work on children's political socialization in the Middle East. I also have been active with international studies: in 2009, I collaborated with the Children's Rights Unit, Institut Universitaire Kurt Bösch, Switzerland on the research project, Living Rights: Theorizing Children's Rights in International Development. I am serving as research member on the Joint Learning Initiative on Children and Ethnic Diversity (JLICED), Division of Children's Rights. My work has been published in the Journal of Qualitative Inquiry, Childhood, Children's Geographies, Journal of Mix Method Research and others. View all notes     

‘The Colonial Children Cry’: Jo the Crossing-Sweep Goes to the Colonies

In this article I explore the affective power of Charles Dickens's character Jo, the crossing-sweep from his novel Bleak House, and his broader cultural significance. Contemporary audiences were deeply moved by Jo's tragic death, sparking a vast popular, and especially visual, culture around the homeless white child. Yet, by establishing an affective and moral opposition between white waif and black ‘heathen’, in a relationship Dickens termed ‘telescopic philanthropy’, audiences were directed to care about the white poor with the inference that black people were not a proper object of compassion. Jo's touching story circulated widely across the colonies of Australia and New Zealand, and was put to work in transmitting inherited British values and making sense of local political and social circumstances. By the late nineteenth century the emotional regime symbolized by Jo the crossing-sweep effectively consolidated racial exclusions.     

From Flatland to Hypergraphics: Interacting with Higher Dimensions

Abstract

Flatland is over one hundred years old, and it has never been more popular than it is now, with five new English editions in the past six years, and translations into eight foreign languages. Much of its social satire is still pertinent today, and it is only now with the advent of modern computer graphics that we can begin to appreciate the challenge of seeing phenomena from higher dimensions which so baffled the two-dimensional protagonist of Edwin Abbott Abbott's little masterpiece. In this review we begin to answer the questions 'who was the author of this book, and how did he come to write it?'     

Bradley Holt,Thirsty for God: A Brief History of Christian Spirituality

Abstract

In this essay, I consider the relationship between more radically open conceptions of democracy and the recent "return of religion" as the return of distinct, particular religions. The radical democracy of figures such as Derrida, Badiou, and Hardt and Negri is found to be not radical enough to be open to the particular religious other. Derrida's "religion without religion" does violence to the particularity of concrete religious traditions, Badiou appropriates Paul's universalism while abandoning the particularity and difference in his conception of collective identity, and Hardt and Negri advocate a "politics of love" while severing that love from its ground— namely, God. I then show a way of rethinking both society and Christianity so that Christianity finds a place in society and society makes room for Christianity. A radical Christianity devoid of self-privilege and triumphalism provides a model for an intersubjectivity of love in which the other really comes first. Paul's radical conception of membership in the body of Christ accomplishes precisely what radical democracy fails to do: it allows for heterophony as well as polyphony, and incoherence as well as commonality. It is only when church and society allow the possibility of incoherence and heterophony that they are truly open to the other, and it is only when they are truly open to the other that they satisfy the demands of a truly radical democracy and radical Christianity.     

Confucianism,Secularism, and Atheism in Bayle and Montesquieu

It should be hardly surprising to discover that eighteenth-century European perspectives of other cultures were shaped to a large extent by concerns internal to European political life. Objective or unprejudiced accounts of non-European cultures are rarely found among travellers, missionaries, and philosophers of the time. While the insights of Enlightenment political thinkers on the non-European world may shed little light on the cultures being commented upon, they are useful for assessing the nature of the Enlightenment's engagement with cultural traditions external to Europe. In particular, Enlightenment conceptions of China were extremely varied and reflective of the debates between Enlightenment thinkers, especially on the proper relation between religion and politics. I shall argue that Montesquieu's account of Confucianism in The Spirit of the Laws (De l’esprit des lois, first published in 1748) was in part influenced by his critique of Bayle's position on the role of religion in society as expounded in his Various Thoughts on the Comet (Pensées diverses sur la comète, published in 1682). While Montesquieu's account and assessment of Chinese thought and culture are “Eurocentric,” his evaluation of Confucianism nevertheless arises from a considered philosophical position on religion and politics.     

Secular apocalyptic and Thomas Hardy

Thomas Hardy's Jude the Obscure (1895) makes ironically secular use of the imagery of the New Jerusalem and of unregenerate Babylon in the Book of Revelation. His purchase on the text is mediated both by Bunyan's Pilgrim’s Progress, a childhood favourite, and hymns such as ‘Jerusalem the Golden’ translated from Bernard of Cluny's De Contemptu Mundi. Avoiding the traditions of anti-Catholic interpretation, and of explicitly political readings which identify Babylon and the mysterious ‘number of the beast’ with particular historical adversaries and tyrants, Hardy uses the biblical text sardonically to demonstrate the inadequacy of escapist dreams and institutional religion and to explore problems of poverty and ambition complicated by sexuality and its cynical exploitation.     

Political Phenomenology: Radical Democracy and Truth

Abstract

In light of the "theological turn" in recent phenomenology, a question arises for contemporary thought of how the relationships among philosophy, religion, and democratic politics might be recontextualized and understood from a specifically phenomenological perspective. Essential in addressing this question is a critical examination of the method of reduction, or epoche instituted by Edmund Husserl as the original, core practice of phenomenology. Reinterpreting the epoche in terms of its social, historical, and political dimensions, later phenomenologists Enzo Paci and Jan Patocka demonstrate how phenomenology's conception of truth is necessarily coordinated with a commitment to collective democratic praxis. In Paci, the practice of epoche initiates critical resistance to ideological and idolatrous social and political forms through contrast with the infinite openness of truth's real universality. In Patocka, phenomenological method as applied to historically-embedded religious and philosophical traditions helps to clarify what in particular distinguishes democratic from autocratic forms of life. By drawing the insights of Paci and Patocka into conjunction, a new conception emerges of the unique religio— the collective, existential commitment— of phenomenology as such: to express the experience(s) of truth through democratic praxis in collaboration with other analogous philosophical, religious and scientific traditions.     

God,not Caesar: Revisiting National Socialism as ‘political religion’

This article argues that use of the concept of ‘political religion’ to describe the radicalized political movements of the twentieth century has again gained currency in recent years as a result of the collapse of the Soviet Union as well as the global upsurge of religiously inspired violence and that research with respect to religion proper – what religion is, its role in public life, its evolving reception by ‘insiders’ and ‘outsiders’ – can advance the discussion. The article subsequently offers the author's own research as evidence of the concept's applicability to the case of National Socialism. Analysis focuses, specifically, on a movement in nineteenth century Germany to develop a secular system of ethics, a project that eventually led, ironically and tragically, to the emergence of a new faith in a absolutized ‘collective will’ as the transcendent source of all moral values. The National Socialist movement subsequently co-opted this article of faith, the article argues, by transforming Hitler into a holy medium for the salvific dictates of what became, by the early 1930s, an unimpeachable ‘Volkswille.’     

Prophetic Perfectionism: The Afterlives of Nat Turner and John Brown

ABSTRACT

Recent fiction, film, art, and scholarship on nineteenth-century American abolitionists Nat Turner and John Brown shed light on the politics of their prophetic religion. Both men led violent rebellions against slavery for which they were executed. Prophetic perfectionism drove Turner and Brown but tended to fade in works about them. Exceptions to this pattern of reception include Jacob Lawrence's John Brown series (1941), Nate Parker's film The Birth of a Nation (2016), and Ted Smith's book Weird John Brown: Divine Violence and the Limits of Ethics (2014). This essay situates Turner's and Brown's prophetic perfectionism and their reception in the context of contemporary political theologies and aesthetics of religion and race.     

Towards a Dynamic theory of Ethno-Religious Conflict

Abstract. The existing body of theory explaining how religion contributes to conflict is inadequate. This is because no existing theory is both sufficiently comprehensive, in that it describes most of the ways in which religion can become involved in conflict, and sufficiently dynamic, in that it takes into account the interrelationships between the various components of the theory. Also, few attempts are made to integrate such a theory into the general literature on conflict, and few such theories are tested, or even testable, in a large-n format (the use of statistical methodology to analyse a large number of cases in order to test theories and look for general trends). A more comprehensive and dynamic theory of religion and conflict is developed here based on the argument that religion has four basic functions in politics, society and conflict: to provide a value-laden belief system; to supply standards and criteria of behaviour based on that belief system; to organise adherents through its institutions; and to legitimate actors, actions and institutions. This theory is then integrated into Gurr's theory of ethnic conflict in a dynamic format that is testable in a large-n format.     

When Greek meets Greek: Alexius Comnenus and Bohemond in 1097–98

Abstract

To his father, Robert Guiscard, Bohemond appeared larger than life even in boyhood. Partly from real feats of war and conquest and partly from adroit self-advertisement, he became a legend in his own lifetime, and even in death he continues to draw the attention of art historians to his mausoleum, which is juxtaposed to the south transept of the cathedral at Canosa, Apulia. The mausoleum's ‘Oriental’ or ‘Byzantine’ features mark it out from other buildings in the region, while the date and design of the cathedral itself evoke controversy. My aim here is neither to attempt a general assessment of Bohemond's career nor to offer a survey of Alexius I Comnenus’ handling of the First Crusade. I shall merely focus on Alexius’ dealings with Bohemond during the earlier stages of the Crusade, and argue that Anna Comnena offers a rather misleading picture of their relationship. Far from Alexius being wise to Bohemond's every trick, with Bohemond ‘playing the Cretan with the Cretan‘, Alexius was in my opinion led to suppose that he had bought Bohemond, at least for the duration of the Franks’ expedition to the East, a supposition that was ill-founded.     

Some Literary Cafes of the Late Nineteenth Century

A concern with the use and abuse of power, how it is exercised, by whom, and to what ends runs throughout the fiction of Catalan writer Jaume Cabré. His 1984 novel Fra Junoy o l'agonia dels sons, which was awarded the Premi Prudenci Bertrana, Crítica Serra d'Or, and Nacional de la Crítica, dramatizes the intransigence of ecclesiastical authorities in conflict with the desire for tolerance of a friar. Cabré employs different temporal and spatial planes, shifting points of view, and one of his favorite strategies, that of beginning his novels in medias res and showing the consequences of actions before narrating the actions themselves. A contrapuntal technique contrasts not just characters, but differing concepts of religion and religious life, and sets quotations from the Bible against passages from the governing documents of the convent where Fra Junoy serves as confessor. The clash between his doubts and the certitude of the convent's rigid abbess calls to mind the contest between Sister Aloysius and Father Flynn in John Patrick Shanley's Doubt: A Parable (2005).     

‘The vehicle he has chosen’: Pointing out the theatricality of Caleb Williams

This article challenges the critical view that Godwin's association with the theatre is limited to the ill-fated Antonio (1800), and argues that the theatrical world was extremely important to Godwin the writer and political reformer. It considers Caleb Williams (1794) in this theatrical context and suggests a reading of it as a ‘theatrical novel’ in the light of St. Dunstan (1790), Godwin's historical tragedy. It argues that the novel is structured in such a manner that it reflects contemporary dramatic technique, especially in its incorporation of the practice peculiar to the Georgian stage known as ‘pointing’. I will suggest that this deliberate attempt to ‘narrativize’ this performative technique in fictional prose has profound implications in terms of explaining how Godwin saw his novel interact with its reader and is consistent with the philosophy of Political Justice.     

On Roman Remains Recently Discovered at Headington near Oxford

Plans to redisplay the Bayeux Tapestry raise anew the questions as to where and how it was originally intended to be displayed. Analysis of the linen fabric provides new insights into the tapestry’s design and manufacture, and enables its original length to be calculated. Re-examination of the (largely destroyed) 11th-century cathedral at Bayeux and of its liturgical layout demonstrates that the tapestry would have fitted neatly into the nave west of the choir screen. Its narrative falls into three discrete sections that reflect the way in which it would have been hung within the building, and the arrangement of the scenes takes account of the uneven bay-spacings of the nave arcades and the positions of the doorways. It can therefore be concluded that the tapestry was designed for a particular location within the nave of Bayeux cathedral. The cathedral’s liturgical traditions shed light on the way in which the tapestry would have been viewed in the Middle Ages, and the wider implications for the way in which it could and should be viewed today are briefly considered.