Popular culture,post-truth and emotional framings of world politics

ABSTRACT

With the election of US President Donald Trump, the separation between high and low politics and the line between fiction and reality has become fundamentally blurred. Yet popular culture offers an important vector through which we might make sense of this political turmoil. The purpose of this essay is two-fold: conceptually, I examine how television provides opportunities for the insight into the visual and emotional registers of the post-truth era. I illustrate this empirically by examining two popular television series – Homeland and The Good Fight. I argue that the power of popular culture is derived from its visuality as the intersection of image and sound, through which emotional registers related to anxiety and outrage can be elicited and visually narrated. Even more so, the visual nature of popular culture has a strong affective component that shapes how we experience representations of reality and reveals the power and political significance of popular culture.     

‘We are of the connections’: migration,methodological nationalism,and ‘militant research’

Abstract

If there were no borders, there would be no migrants – only mobility. The persistent reification of migrants and migration – even in critical migration studies –(re-)fetishizes and (re-)naturalizes the epistemological stability attributed to the (‘national’) state as a modular fixture of geopolitical space. In this regard, migration scholarship (however critical) is implicated in a continuous (re-)reification of ‘migrants’ as a distinct category of human mobility. Thus, the methodological nationalism that rationalizes the whole conjuncture of borders-making-migrants supplies a kind of defining horizon for migration studies as such. The dilemma of methodological nationalism has never been merely a problem of thought, however. It is indeed a manifestation of the veritable participation of researchers and scholars – whether consciously or unwittingly – in the very same sociopolitical processes and struggles through which the ‘national’ configuration of ‘society’ (or, the social field) is reified and actualized as the territorial expression of state power. Therefore, the questions of methodological nationalism and what might be called ‘militant research’ are deeply interconnected, indeed, mutually constitutive. As scholars of ‘migration’ – and above all, as practitioners of ‘militant research’ – we must attend to a self-reflexive critique of our own complicities with the ongoing nationalization of ‘society’. Hence, as researchers or scholars of migration, we are indeed ‘of the connections’ between migrants’ transnational mobilities and the political, legal, and border-policing regimes that seek to orchestrate, regiment, and manage their energies. We are ‘of’ these connections because there is no ‘outside’ or analytical position beyond them. The larger juridical regimes of citizenship, denizenship, and alienage configure us to be always-already located within the nexus of inequalities that are at stake in these conflicts.     

John Banville’s “monstrous child”: freedom and inheritance in Shroud

ABSTRACT

John Banville has described his novel Shroud (2002) – a fictionalised re-imagining of the 1988 scandal of Paul de Man, whose war-time publications for a collaborationist journal were discovered after his death – as his “monstrous child” that only he could love. This essay turns to Derrida’s thoughts on monstrosity, and in particular his framing of the future-to-come as an unforeseeable reckoning between Nietzsche and Rousseau, whose approaches to human freedom and authenticity remain philosophically irreconcilable. Shroud engages with these two inheritances on a thematic level, bringing them into conversation through the characters of Vander and Cass. The interruption of intergenerational love and the prospect of a child between them, however, makes Derridean monstrosity – that more properly deconstructive trope that opens to the future by unearthing traumatic inheritances from the past – into a structuring principle, and the means by which we might best understand the novel itself as a “monstrous child”.     

Violence on bodies: Space,social reproduction and intersectionality

Abstract

Social categories such as gender, race, ethnicity, caste, and class have been analyzed by feminist geographers, who collectively argue that as individuals we experience and live the effects of these social categories simultaneously. Violence as a result of living these categories is not specific to certain spaces or contexts. Nor can violence be imagined as only social – it is also political, economic and institutional. Silvia Federici’s work can assist feminist geographers in understanding how this violence plays out in various contexts. Federici's detailed archival searches and empirical analyses of bodies and reproduction show parallels with contemporary forms of direct and structural violence of the state, patriarchy, and capitalism through unequal power relations and unequal life chances. Refining the scarce scholarly acknowledgement of women (and men) who are exploitable or labeled as irrational and vulnerable, and of human and non-human populations that have been relegated to the realm of surplus and expendable bodies – explain how the organization of capital facilitates and, indeed, relies on violence. In support of this argument, the authors in this collection seek pathways within Federici’s ground-breaking works Caliban and the Witch and Revolution at Point Zero, which could enrich existing works in the discipline. The contributors reflect on how these particular books have been pivotal to feminist thought generally and their own research, analysis, and pedagogical practice specifically. Through their disparate studies the contributors have intertwined the geographies of structural, institutional, and/or state-sponsored violence with themes arising in Federici’s work.     

Speculative Realism and Public Theology: Explorations

Abstract

The paper argues that ideas emanating from the speculative realists can inform a new approach to public theology, one that is broadly consistent with Christian realism and opposed to that of radical orthodoxy. Linking the two disciplines through an exploration of the ethical consequences of speculative realism, it takes in particular the work of Latour, his concept of the "gathering," his distinction between matters of fact and matters of concern, and his questioning of the fact-value distinction, and through a lived example shows how the language of human and non-human offers a critique of reductionist approaches to the political.     

Thinking the other,thinking otherwise: Levinas’ conception of responsibility

ABSTRACT

Probably no other philosopher described the encounter with the other (human being) in a more radical way than Emmanuel Levinas. This led him to a new interpretation of responsibility as origin of all our ethical obligations towards others. He put into question a philosophical tradition of thought he accused of taking the ego as sole origin of all foundation of meaning. In this paper, I begin by outlining Levinas’ criticism of the occidental tradition of thought to explain the place of the other in his writings. I go on to explicate Levinas’ peculiar understanding of ‘responsibility for the other’. I will show how important it is in Levinas’ work not to isolate the question of responsibility from the question of justice. Finally, I examine what other capabilities would be required in order to act in a responsible and just way.     

1968 and its other worlds: Global events and (anti-)state dynamics in France,Mozambique and Vanuatu

ABSTRACT

This article de-centres the moment, event and impact of 1968 and expands it temporally and spatially. Taking a longue durée approach charting a trajectory from the 1960s into the 1980s, we analyse statist and anti-statist dynamics through a comparison of the May 1968 Paris riots with the Nagriamel movement in Vanuatu and the phenomenon of Naparama in Mozambique. Such a horizontal triangulation and spatio-temporal expansion is undertaken to contribute to a more global understanding of what we term ‘the 1968 event’ entails. However, this comparative analysis also underlines how its impact should be measured as, first, an experimentation with and attack on political reality, second, how the intricate connections between Euro-American and other worlds were integral to its articulation and, third, how paradoxically 1968 and its response spawned the rise of an authoritarian form of nation-state – eclipsing the openings in the firmament of the political, social and the real afforded by the original event.     

Cultural networks between Portugal and Brazil: a postcolonial review

This paper aims to study notable examples of transatlantic transmissions of norms, beliefs and values that have revised the sense of a Luso-Brazilian community in a global world. The so-called Atlantic Civilization understood before as essentially Anglo-Saxon, takes a new shape when seen by the South Atlantic. If the historical relationship between Portugal and Brazil was one of colonial containment, since the nineteenth century those bilateral relations have passed through a process of reconciliation and networking – first through a mutual acceptance, then through the establishment of common international goals. On the one hand, this networking between Portugal and Brazil has occurred through public symbolic demonstration and the commemoration of a common culture; on the other hand, this networking has evolved through cultural connections – music, literature, and cinema, – all of which serve to validate a postcolonial review. Cultural connections that have survived the proverbial test of time have proven to be valuable in assessing the evolving relationship between Portugal and Brazil. Therefore, the Brazilian conscientiousness of its importance in the regional and world sphere involved the preparation of a Brazilian cultural diplomacy that recognized the political desire of diplomacy between Portugal and Brazil – a diplomacy that is largely demonstrative of the importance of soft power in a world of global networks.     

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.     

Singers without borders: a performer’s rotulus and the transmission of jeux partis

The jeu parti – a debate in song weighing questions of love, sex, wealth, ethical behaviour – enjoyed popular acclaim across social classes in thirteenth-century France. Despite the appeal of these texts as historical sources, suggestive of the mentalité of a medieval community through frank discussion of taboo subjects, jeux partis have received sporadic scholarly attention. A rare scroll, copied by an Anglo-Norman scribe (London, Lambeth Palace Library, MS 1681) supplies new evidence of the genre’s transmission outside the pages of a codex and outside northern France. The only known document of its kind to contain jeux partis, it has been overlooked by scholars for a century, yet it suggests that the transmission of music and culture could be achieved textually, borne along the performance circuits of medieval Europe. This study investigates how jeux partis were composed, transmitted and refashioned for new audiences with the aid of text and improvisation.     

“The Power to Empty Oneself”: Hegel,Kenosis, and Intellectual Virtue

This article considers Hegel's idea of Entäußerung, or kenosis, as a model for an intellectual virtue that enables people to confront difference and disagreement without domination. According to Hegel, Entäußerung involves a refusal to use one's epistemic status – of being one among many reciprocally recognized loci of authority – as a basis for dominating others. The article considers the development of this idea in Hegel's work, addresses affinities between Hegel's idea of Entäußerung and recent feminist theology, and suggests its relevance for thinking about political and ethical conflict.     

Racialising global relations: the Rwandan genocide and the ethics of representation

At a time when the historical experience of the Rwandan genocide continues to be invoked to imagine and affirm international responsibility for the suffering of others, this article examines one way in which this event has been made to mean. Through a critical reading of Hotel Rwanda (a feature film) and Shake Hands with the Devil (a memoir), the article examines how the Rwandan genocide has been framed as an event of ‘white’ Western racism towards ‘black’ African injury. Without disputing the veracity of this explanatory framework, this article interrogates its representational politics and ethics. I problematise its continued use of inherently discriminatory racial categories, demonstrate its Eurocentric nature and call for a mode of understanding the ethical significance of the Rwandan genocide that is not limited to an already existing global relation between suffering ‘black’ bodies and potential ‘white’ saviours. In critiquing these texts and this discursive framework, my aim is to enable ways of coming to terms with the genocide that can accommodate the complex connections that do and may exist between non-Rwandans and the 1994 Rwandan genocide.     

Müntzer,Taubes, and the Anabaptists: Emancipatory History and Political Theology

ABSTRACT

The radical apocalypticism of the sixteenth century mystic and revolutionary Thomas Müntzer has served as an enduring resource for the political left, from early investigations by Engels and Bloch to the recent works of Alberto Toscano and Wu Ming. In one of his lesser-studied works – the 1947 dissertation Occidental Eschatology – Jewish philosopher Jacob Taubes places Müntzer at a key juncture in the history of eschatology, first by situating him at the end of the Reformation period, and then by connecting his revolutionary apocalypticism to the critiques of Hegel leveled by Marx and Kierkegaard. This study aims to give a new perspective on Taubes as a philosopher of history, first by showing potentially surprising connections between Taubes’ Occidental Eschatology and the historiography of Anabaptism, and second by making suggestions about how Taubes’ distinctively emancipatory philosophy of history might contribute to thinking about time and history within contemporary political theology.     

“Did that play of mine …?”: James Connolly,Cathleen Ni Houlihan and staging revolution

Abstract

Despite the crucial position he occupies in Irish history as one of the leaders of the Easter Rising, and the political – and emotional – impact of his subsequent execution, while wounded, by the British Army on 12 May 1916, the writings of Edinburgh-born James Connolly have often been overlooked in both Irish and Scottish studies, and not just in accounts of the Rising but also in the wider context of cultural connections, including cultures of commemoration. In particular, Connolly’s surviving literary work, including Under Which Flag?, the drama staged on the eve of Easter 1916, as well as poems and songs, has had limited attention. This article reconsiders Under Which Flag? in comparison with Yeats and Gregory’s Cathleen ni Houlihan in order to demonstrate the central place the drama holds as a continuation – and complication – of Connolly’s political and journalistic writings. If Connolly is a neglected figure as a writer – as opposed to a political leader and martyr – then the play he left behind (once thought to have been lost, like another of his dramas, The Agitator’s Wife) affords us an opportunity to reassess his contribution to the struggle for independence as part of its literary wing.     

Papadiamandis and Homer: A Note

Abstract

Meaningful allusion to the classics in Papadiamandis's work is not a matter of the text's being stuffed with overt classical references. In his early novels we find a large number of, as it were, classical one-liners: essentially undigested – or at best opportunistic – allusions. The technique is a less focused form of Roidis's in Pope Joan; perhaps a closer comparison is Kalligas's Thanos Vlekas, which is replete with Homeric allusions and puns, none of them integral to the narrative. Similarly, we find in early Papadiamandis a disorderly collection of allusions: Byron, Milton, Aesop, Sophocles, Juvenal, Homer et al.; and sometimes we see his allusiveness to be a mere tic of style rather than fully purposive. In other words, .it is as true here as elsewhere in Greek literary tradition that we need to sift meaningful from more or less chance allusion.     

Settlement Pattern Change in the Morea (Peloponnisos), c.A.D. 1700–1830

Abstract

The historiography of the Ottoman period (Tourkokratia) in what is now the state of Greece contains many untested propositions about both the nature and the consequences of Turkish rule (Hatzidimitriou 1982). Amongst these is the notion that during the Ottoman occupation the Christian population – or at least a sizeable proportion of it – was driven into the mountains. Our paper sets out to test the hypothesis – for such it is – using readily available published information on the settlements of the Morea (Peloponnisos) dating from c.1700 and c.1830. First, though, we specify the hypothesis and indicate the types of evidence which appear to give it support.     

Challenging moral corruption in the postcolony: Ayi Kwei Armah’s The Beautyful Ones Are Not Yet Born and Hannah Arendt’s notion of individual responsibility

This article focuses on Ayi Kwei Armah’s The Beautyful Ones Are Not Yet Born (1968), which portrays a nameless protagonist who clings to his own ethics as he resists corruption in Kwame Nkrumah’s Ghana in the 1960s, an instance of what Achille Mbembe has called the postcolony. This situation bears comparison with Hannah Arendt’s political philosophy, which emphasises individual responsibility in political situations in which common democratic norms no longer apply. Based on Arendt’s insights, I claim that the ethical choices of Armah’s nameless individual suggest a way towards a better communal future. This article further suggests that Arendt’s political philosophy – read in critical dialogue with theorisations of the African postcolony – can offer valuable analytical approaches to discussions of moral decay in postcolonial Africa.     

A cultural justice approach to popular music heritage in deindustrialising cities

ABSTRACT

Deindustrialisation contributes to significant transformations for local communities, including rising unemployment, poverty and urban decay. Following the ‘creative city’ phenomenon in cultural policy, deindustrialising cities across the globe have increasingly turned to arts, culture and heritage as strategies for economic diversification and urban renewal. This article considers the potential role that popular music heritage might play in revitalising cities grappling with industrial decline. Specifically, we outline how a ‘cultural justice approach’ can be used within critical heritage studies to assess the benefits and drawbacks of such heritage initiatives. Reflecting on examples from three deindustrialising cities – Wollongong, Australia; Detroit, USA; and Birmingham, UK – we analyse how popular music heritage can produce cultural justice outcomes in three key ways: practices of collection, preservation and archiving; curation, storytelling and heritage interpretation; and mobilising communities for collective action.     

Ethical Responsibility and the Historian: On the Possible End of a History "of a Certain Kind"

In this article I try to answer the question posed by History and Theory's“call for papers”; namely, “do historians as historians have an ethical responsibility, and if so to whom and to what?” To do this I draw mainly (but not exclusively and somewhat unevenly) on three texts: Alain Badiou's Ethics: An Essay on the Understanding of Evil, J. F. Lyotard's The Differend, and Edward Said's Representations of the Intellectual; Jacques Derrida and Richard Rorty have a presence too, albeit a largely absent one. Together, I argue that these theorists (intellectuals) enable me to draw a portrait of an ethically responsible intellectual. I then consider whether historians qua historians have some kind of ethical responsibility—to somebody or to something—over and above that of the intellectual qua intellectual; I reply negatively. And this negative reply has implications for historians. For if historians are to be intellectuals of the type I outline here, then they must end their present practices insofar as they do not fulfill the criteria for the type of ethical responsibility I have argued for. Consequently, to be “ethical” in the way suggested perhaps signals—as the subtitle of my paper suggests—the possible end of a history “of a certain kind” and, as the inevitable corollary, the end of a historian “of a certain kind” too.     

We are never alone: a conversation on bio art with Eduardo Kac

Brazilian-born artist Eduardo Kac’s (Rio de Janeiro, 1962) work has raised eyebrows especially for his ‘transgenic art’ projects, among others: Genesis, 1999; GFP Bunny, 2000; The Eight Day, 2001; Natural History of the Enigma, 2003/08. In all of these, Kac and his scientific collaborators realize genetic interventions into living organisms at the same time as they trigger audience reactions to these from playful kinds of interaction that is integrated into the works’ open and dynamic creative process. Yet whereas the ethical and political challenges Kac’s work poses have sparked lively debates within and beyond the realm of the arts – can and must art engage with the ‘creative’ potentials of biotechnology and genetics? Do these not in fact (as Vilém Flusser and others have suggested) hold the key to realizing the vanguardist dream of merging art and life? Or should the artist, from the vantage point of his own creative practice, not rather warn us against the ethical and political risks involved in genetic engineering? – much less attention has been paid to the way Kac’s art also continues and transforms a particular legacy of post-concretist, ambient and performance art in Latin America.

Kac himself has referred to Brazilian artists Flávio de Carvalho, Hélio Oiticica and Lygia Clark as informing his interest in open, participative forms, which characterize both his transgenic and his earlier ‘tele-presence’ art projects. Other Latin American artists of the late twentieth and early twenty-first century have been producing intriguing engagements with living materials, multispecies habitats and organic remains, including such diverse names as Luis Fernando Benedit, Nicola Constantino, Nuno Ramos, or Teresa Margolles. In a conversation with Jens Andermann and Gabriel Giorgi at the University of Zurich’s Center of Latin American Studies on March 12, 2015, Kac addressed the way in which his work might be seen as continuing or challenging long-standing representations of the New World as a repository of ‘nature’, from colonial chronicles of discovery to contemporary discourses of biodiversity and conservation. To what extent is bio art – and the questions it raises about the Anthropocene as a threshold of radical biopolitical convergence between ‘history’ and ‘nature’ – necessarily ‘transcultural’ and planetary in its extension?