‘One single ivory cell’: Oscar Wilde and the Brain

This paper considers Oscar Wilde's ongoing interest in the image of a single brain cell as a souvenir of human autonomy in a world of matter. Taking a long view of Wilde's career that demonstrates the relevance to his literary work of his college interests in physiology and philosophy, this paper shows how Wilde's socialism can be explained by his uniquely aesthetic take on the brain. For many late Victorians brain science threatened both the autonomy of human action and the legitimacy of beauty because it had the potential to invalidate conscious experience, but writers whose work Wilde knew, like Ernst Haeckel, W.K. Clifford and John Tyndall, apply aesthetic vocabularies to their own discussions of cells. Their theories illuminate Wilde's representation of the cell as an aesthetic object. Wilde's art collaborates with science to reject action, as action is conventionally understood, without relinquishing beauty as his ultimate value. His discovery of beauty in matter that is beyond the pale of human experience, yet intimately and strangely constitutive of our experience, directs the senses to a new field of experience that values the molecular life the species holds in common, in which individuals and their actions matter less to the possibility of social change than does the necessity of pleasure.     

‘Looking at the Others’: Oscar Wilde and the Reading Gaol Archive

In looking at Wilde and the prison, scholarship has understandably focussed on the lengthy and complex De Profundis, and how the prison experience confirmed or re-shaped Wilde as a writer and thinker. Wilde himself claimed to have been saved by the ‘others’ that he encountered in prison, and these ‘others’ have received scant attention. Who were they? How does a greater knowledge of them supplement our sense of the nineteenth-century prison and of Wilde? This essay looks closely at the Reading Gaol archive, tracing out the lives of some of those with whom Wilde was incarcerated and providing analyses of the prison population in Reading while Wilde was there. Aside from yielding the only known photographs of any of the young working-class men in whom Wilde took an interest, the essay seeks to build a more nuanced reading of Wilde's experience. Above all, the aim is to open out the meanings of the Wilde myth, and, in particular, to offer a more socially inclusive version.     

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.     

What to do with conspiracy theories?: Insights from contemporary Turkey

This article presents ethnographic insights into the everyday lives of people who circulate conspiratorial narratives through an ethnographic study of ultranationalist men in contemporary Turkey. Drawing on the findings of this research, the author suggests that conspiratorial discourses should be examined not solely in terms of their (anti-)truth qualities but as social practices through which masculine subjectivities and socialities are engendered. The author then explores how the circulation of conspiratorial narratives forges agency and political subjectivity for the men involved, while also inducing sociopolitical effects such as vigilantism and paramilitary violence. This article contends that through the circulation of conspiratorial narratives and everyday engagements with vigilantism and extralegal violence, the men reconfigure sovereignty and the way that the state operates in contemporary Turkey. The findings of this research suggest that the focus should be moved away from the epistemological shortcomings of conspiratorial narratives or strategies to debunk them – such as fact-checking – which presume that exposure of ‘the truth’ would lead to the dissolution of ‘untruthful’ conspiracies. Rather, the author suggests that researchers attend to the particular forms conspiracies take in concrete situations, how they mould political subjectivities and social groups and reconfigure the ways that the state operates alongside the law in other similar settings.     

‘Cleverly Drawn’: Oscar Wilde,Charles Ricketts,and the Art of the Woman's World

This paper offers a new examination of the influential women's magazine, theWoman's World (1887–90), and Oscar Wilde's editorship thereof. Previous studies have focused on the magazine's importance as a venue for promoting proto-feminist writing and for enabling Wilde to boost his professional cachet through editorial work, but the aesthetic aims and execution of theWoman's World merit further analysis. The Woman's World reveals how male artists negotiated aesthetics and Aestheticism between themselves within its pages, as well as how they presented it to the publication's assumed audience of women. This paper particularly centres on the magazine's role in establishing the professional relationship between Wilde and Charles Ricketts, later the designer and illustrator of some of Wilde's most important texts, while simultaneously considering how Ricketts's work furthered the artistic and intellectual instruction Wilde hoped to offer the magazine's readers. Case studies of several of Ricketts's illustrations demonstrate the types of visual reading that the Woman's World seemed to espouse, and which worked in tandem with the textual contents to encourage women to develop critical reading skills.     

Taking center stage: Early modern women’s tragedies on the contemporary stage

Abstract

From wife murder to cloak-and-dagger plays, female bodies, minds, and financial status are, for the most part, disempowered and abused by male protagonists with societal compliance. Since the 2000s, coinciding with the approval of the Ley Integral contra la Violencia de Género (2004), a wave of stage adaptations emerged in Spain that questioned the marginalization of women characters in the comedia. I claim that this trend in performance has become a sociocultural phenomenon that uses the symbolic capital of the comedia to raise awareness of women’s misrepresentation and gender violence and inequality.     

Maps through the maze: Guides to contemporary Italy after the ‘first republic

Paul Ginsborg (ed.), Stato dell'Italia, Il Saggiatore—Bruno Mondadori, Milan, 1994, 704 pp., ISBN 88–428–0147‐X, 29,000 Lire pbk.

EURISPES. Istituto di Studi Politici Economici e Sociali, Rapporto Italia ‘95, Koinè Edizioni, Rome, 1995, 1100 pp., 80,000 Lire pbk.     

Introduction. Anarchism and the national question—historical,theoretical and contemporary perspectives

This article provides an introduction to the themed section ‘Anarchism and the national question—historical, theoretical and contemporary perspectives.’ We discuss first the long and often overlooked engagement of anarchists with the colonial and national liberation question, particularly—but not exclusively—in the heyday of the movement (from the second half of the 19th to the first decades of the 20th century). We discuss in particular the overlaps and tensions between anarchists and republicans (those who favoured republics as opposed to monarchies) and anti-colonial nationalists (anti-colonialists who defended the right of national self-determination). Then we proceed to discuss the potential for a dialogue between anarchist and nationalism studies based on three interventions. First, to problematise the narrative that conflates nations with state-building processes. Second, to better grasp the emergence of alternatives to the nation–state as a historical construct. Third, to complicate narratives that associate in an unproblematic fashion internationalism and classless society. Finally, the introduction highlights the four questions which lie at the core of the themed section and discuss briefly how the papers relate to these.