Reconfigurations of Place and Ethnicity: Positionings,Performances and Politics of Relocated Banabans in Fiji

Spatial belonging and ethnic identity among the Banabans resettled on Rabi Island in Fiji are the product of historically and culturally specific articulations and transformations. Such reconfigurations of place and ethnicity, based mainly on enmeshments between the Banabans' new island home, Rabi, and their island of origin in the Central Pacific, Banaba, have let them position themselves as an autonomous community living out a diaspora existence. Central to this identity politics of positioning are ethnic performances in which neo‐traditional enactments are deployed to produce embodied knowledge of Banaban existence and to communicate such knowledge to a wider world. We argue that the Banabans of Fiji, caught in a post‐colonial environment of ethnic‐nationalist discourses and practices, make strategic use of such ethnic performances to affirm and advance, both internally and externally, their own politics of spatial and ethnic positioning on Rabi.     

Polis and Oikos: The Art of Politics in the Greek City-State

ABSTRACT

The Greek city-state has traditionally been viewed as an entity that was divided into two distinct spheres (oikos and polis) and governed by two distinct arts (oikonomia and politikê technê). The aim of this article is to show that this image of the Greek city-state is not very accurate. The relationship between the oikos and the polis was not exclusive in classical poleis. Particularly in Athens during the democratic period, the polis was depicted as a family writ large, and to the extent that oikos was seen as an entity of its own, it was a part of the polis, not excluded from or opposed to it. My aim is to show that the art of the household and the art of politics were not distinct arts as has been claimed in modern political theory. Furthermore, although the collapse of the classical city-state during the Hellenistic era entailed a privatization of the household, it was not until modern times, from the late eighteenth century onwards—when the concept of the natural right to life and property became firmly established in juridical and political discourses—that the private sphere attained genuine autonomy.     

The Art of Wounded Hope: Forced Migration,Prophecy and Aesth/Ethics

ABSTRACT

This paper constructs an analogy between art and prophecy, exploring and comparing their relationship to political change. It does so through considering arts-based responses to the contemporary forced migration context in conversation with the book of Jeremiah. Recognizing that the artistic – in the case of Jeremiah, the poetic – can be an important means of resistance for those experiencing exile and injustice, this paper delineates two key ways in which visual arts, poetry, music and theater are playing a prophetic role in relation to migration today. First, the arts can generate prophetic revelation, helping people to see more clearly and truthfully the pain and suffering experienced by forced migrants. Second, the arts can enliven prophetic imagination, helping people to visualize creatively how a world-in-migration could be at its best by offering glimpses of oneness and hope. The paper concludes by pointing out some ambiguities involved in engaging with the arts as a means of prophecy.     

伦理与政治融合的儒家思考——荀子"分治"思想论析

荀子伦理-政治思想的-贯之道是"分"的思想."分"的要义是如其分而治理.普遍的"区分"或"分"的方法论,是荀子思想中非常具有启发性的重要方面.分治的理念体现了荀子对伦理-政治融合关系的思考,其关键在于由人而政,关注人的自我完善,强调伦理道德在政治中的作用.荀子学说彰显了正名与尚学等儒家传统的主旨和政治意义.     

Art and Impowerment: Levinas,Nietzsche, and the Ethics of Literary Discourse

This article draws on the profound affinities between the thought of Levinas and Nietzsche to argue that aesthetics plays a major role in Levinas's ethical philosophy. As in the case of Nietzsche, who called himself “the first tragic philosopher,” aesthetics gives reference to the tragic, yet affirmative content of Levinas's ethics. For both, what Levinas calls the “alterity,” or otherness, of art and literature is located not in an ontological or conceptual “beyond”—in a “spiritual” dimension “which sets itself up as knowledge of the absolute”—but in the “interstices” of language, in the “between times” (entretemps) of its modes of temporality: which can only be accessed by way of “the tragic” in art. Alterity signifies not a privileged, interpersonal dimension freed from the problematics of modernity, but points to the complicity between the West's concept of rationality and its history of barbarism exemplified by the Holocaust. The artwork for Levinas is at once temporally diachronic and spatially diasporic, a region of impowerment that is precisely lacking in the expressive or imaginative empowerment normally attributed to the artwork, but which demonstrates a utopian, emancipatory potential in revealing the fissures and hidden pathways that run through the hegemonic structures and totalizing frameworks of modernity.     

Gunnar Olsson's Transformers: The Art and Politics of Rendering the Co–Relation of Society and Space in Monochrome and Technicolor

Human geography is concerned with the co–relation of society and space. However, every device that has been used to express the co–relation of social space breaks down. Consequently, this paper engages with the fundamental difficulty of providing a consistent and effective rendering of relations. Specifically, the paper explores the poststructural work of Gunnar Olsson, a writer who has provided the most sustained and far–reaching engagement with co–relation to date. Consideration is given to Olsson's deconstruction of logic, dialectics, semiotics and the empty forms of co–relation (=, /, —, □, ?, ○, etc.). This deconstruction enables one to appreciate the ethical and political performativity of Olsson's surrealist and hyperrealist optical art: dematerialized points, torpedoes, ovoids, Moebius bands, and so on. In addition, the paper raises a peculiar but nonetheless vital question: what is the colour of co–relation and social space? In answering this question, the paper moves through two monochrome series (one rendered in black and white; the other in blue–grey) and one Technicolor series (rendered in ruby and gold). In the final showdown, however, the dyes leak in all directions. Social space is iridescent.