BALANCED TRUTH: STEVEN SPIELBERG'S SCHINDLER'S LIST AMONG HISTORY,MEMORY, AND POPULAR CULTURE1

Looking at the public reaction to it, one might say that Steven Spielberg's Schindler's List is undoubtedly the most successful film about the Holocaust. The film's success in the U.S. and other Western countries can be traced back mainly to the fact that it creates the impression of telling a true, apparently authentic, story. This essay investigates how this impression of historical truth and authenticity emerges in a fiction film. For this purpose the essay reverts to a concept developed by Jörn Rüsen, which distinguishes among three dimensions of historical culture, namely political, aesthetic, and cognitive. In addition to the historical context that serves as a specific precondition for the film's success, the essay primarily investigates the strategies of authentication Spielberg applied at both the visual and narrative levels. The investigation concludes that the impression of evidence produced by the movie is significantly a result of the sophisticated balancing of the three dimensions mentioned above. The film utilizes artifacts of an existing and increasingly transnational (visual) memory for the benefit of a closed, archetypical narrative. It follows the aesthetic and artistic rules of popular narrative cinema, and largely recurs to conventions of representation that were common in film and television programs of the 1990s. Although these forms condense the historical course of events, the film manages to stay close to insights gained by historiography. The hybrid amalgamation of history and memory, and of the imaginary and the real, as well as the combination of dramaturgies of popular culture with an instinct for what can (not) be shown—all of these factors have helped Schindler's List to render a representation of the founding Holocaust myth in Western societies that can be sensually experienced while being emotionally impressive at the same time.     

Reflections on the rise and development of the idea of Europe

In 1911 Gerald F. Shove, later to become a leading Cambridge economist, submitted to King's College a fellowship dissertation on the application of G.E. Moore's ethical philosophy to political theory. In the article the dissertation, hitherto unpublished, is discussed with reference to both the acceptance and elaboration of Moore's Principia Ethica by the members of the Apostles and Bloomsbury groups and Shove's intellectual and personal biography. The thesis tackles some major concepts in political theory like the nature of human societies, self-government, justice and freedom.     

Continental Drift: Negotiating Male Performance in Canadian and American Cinema from the Late Sixties

Michel Brault's Entre la mer et l'eau douce (1967), one of the most accomplished feature films of the Quiet Revolution period, follows the journey of singer-songwriter Claude Fournier from the Charlevoix region to Montreal, where he drifts through a series of marginal jobs and love relationships before returning, disappointed, to his rural village. A portrait of “in-betweenness” in terms of identity, space and time, Brault's film tells the story of Quebec's increasing urbanization and of a people's collective entry into modernity, yet has received much less critical attention than other Quiet Revolution classics such as [Agrave] tout prendre and Le chat dans le sac. This article proposes a reading of this film that recognizes its importance as a key cinematic stepping stone in the Quebec national project, but also places it within a larger context of “coming-to-the-city” narratives. How does comparing Entre la mer et l'eau douce to English-Canadian and American classics which tackle similar themes (i.e., Goin' Down the Road, 1970; Midnight Cowboy, 1969) enable a larger discussion of the representation and appropriation of space, place and movement in the North America imaginary and Quebec's place therein?     

The rise and demise of the Irish and Scottish computer hardware industry

This paper examines the dynamics of the computer hardware industry in Ireland and Scotland in a global context, from its inception in the late 1950s to the present. It provides a detailed account of plant openings and closures in both the system assembly and the component manufacturing segment. It describes the development of the computer hardware industry from mainframe assembly, through minicomputer assembly to microcomputer assembly and the shift of system assembly and component production activity to the Far East and Eastern Europe since the mid-1990s. The developments are analysed in terms of Schoenberger's (1997) model of concentrated deconcentration in the context of time-based-competition. It is shown that the model, with substantial qualification, fits the developments since the 1980s.     

‘The Old Woman as Hare’: Structure and Meaning in an Irish Legend

This paper looks at the St Kitts and Nevis Mummies' plays as published in Folklore by Roger Abrahams (1968). It demonstrates that the texts were originally taken from a play published by the Victorian children's author Mrs J.H. Ewing. This play appeared in several editions, most notably in two series issued by the Society for Promoting Christian Knowledge. Mrs Ewing's text was itself compiled from three northern English chapbook texts and a version from Silverton, Devon. The relative contribution of these texts to Mrs Ewing's play, and the way she put them together, are both explored.     

Reconstructing an urban and regional political economy: on the state,politics, scale,and explanation

This paper begins from the premise that a number of now fashionable institutionally focused accounts of urban and regional political economy often begin at a point that is analytically flawed (or at least partial) in that the institutional ensembles themselves—whether analyzed as an urban `regime', regional `thickness' or a local `regulatory mode'—are automatically assumed to be a pre-given part of the explanation. However, the authors contend that for a deeper analysis of urban and regional political economy to be advanced, these institutions themselves need to be explained. In order to proceed with such an explanation three key factors require more serious consideration. These are: (1) the need to outline one's chosen research object of enquiry, and all that this entails in terms of research methodology, theory selection, and an uncovering of the `constitutive properties' of causation; (2) a greater readiness to analytically interrogate the relational interplay between economic development, political governance and scale; and (3) an obligation to pay due respect to the politics of representation and active processes of state restructuring and political strategizing through and around which economic development is itself constituted. In order to explore these themes, the authors draw, variously, on a methodological (re-) reading of the regulation approach, recent theoretical innovations on the `politics of scale', Jessop's state-theoretical writings and his recently developed neo-Gramscian methodology for analyzing urban economic governance, alongside Jenson's political sociological approach towards the `politics of representation'. Where appropriate, they explore, briefly, ways in which these theoretical themes may be deployed in empirical research, by considering certain restructurings in and of the political economy of Britain during recent decades.     

Nineteenth-century Irish Anacreontics: the literary relationship of James Clarence Mangan and Thomas Moore

The odes of the ancient Greek poet Anacreon, celebrating wine, women and song, were made newly popular in the nineteenth century through the efforts of Thomas Moore, a writer whose first volume of verse, a loose translation of the Odes of Anacreon, published in 1800, marks him out today as a poet of Romantic sociability par excellence. I argue that the Anacreontic ode popularised by Moore continued to resonate through nineteenth-century Ireland – albeit in a heavily mediated form – in the work of the poet's successor, James Clarence Mangan, who picked up the cup in the series of drinking songs he wrote periodically throughout the 1830s and 1840s, the decades during which Mangan sank into alcoholism and emotional estrangement. The easy charm of Moore's Anacreontic song mutates in Mangan's verse into a more complex, often allusive and fragmented form, a perverse Anacreontics, which corresponds both to the poet's psychic trauma (his alcoholism and self-alienation) and to a broader cultural and political dislocation experienced by Ireland under British rule. This discomfort is registered in Mangan's verse in the playful refusal of a single authorial voice and in the poet's tendency both to ventriloquise and to distort influence – not just that of Moore but also of the British Romantics, notably Byron and Coleridge.     

“Operation Exodus”: Israeli government involvement in the production of Otto Preminger's Film Exodus (1960)

This article explores the Israeli government's enthusiastic and substantial role in the production of Otto Preminger's Exodus (1960), the influential pro-Zionist film on the creation of Israel which was loosely based on the highly successful novel by Leon Uris. This involvement followed a decade of mostly unsuccessful Israeli government endeavors to encourage its many supporters in Hollywood to produce films in and about Israel: both for their potential economic rewards and for international propaganda. Utilizing archival sources in the United States, Britain, and especially Israel, this article charts Israeli efforts to encourage Hollywood productions in the 1950s and the extent to which Israeli officials provided encouragement and assistance to Exodus: first to the novel and then critically to the film. The article shows that the film producers took into account British and Arab observations too. However, the degree to which Exodus served Israeli propaganda themes is finally demonstrated by the eager efforts made by Zionist bodies and Israeli government officials to promote its international distribution.     

Lucrecia Martel’s Nueva Argirópolis: Rivers,Rumours and Resistance

This article analyses Lucrecia Martel’s 2010 short film Nueva Argirópolis, which was commissioned by the Argentine Ministry of Culture as part of the Bicentennial celebrations. It explains how the film both inhabits yet contests the discourses of the modern nation state underpinning those celebrations, in particular through its representation of conflict between the state and indigenous groups. Its representation draws on images proposed by an earlier work, Sarmiento’s utopian tract of 1850, Argirópolis, images including the river and the island which in Martel’s film undergo a resignification, which overturns Sarmiento’s understanding of relationships between geography, capital, nation and ethnicity. Political and cultural debates of particular relevance to indigenous communities, such as access to land, as well as the way the indigenous are represented in state discourses, surface obliquely in this short film, which both represents diegetically the circulation and relay of rumours of indigenous resistance, as well as suggesting these formally through a soundtrack suffused with murmurs and barely audible sounds. The unsubtitled words of indigenous actors, as well as the authorities’ attempts at investigation of indigenous political activity through staging encounters of (failed) interpretation, and the subversive mimicry by indigenous activists of hegemonic ideas of national foundation are themselves muted, rumoured suggestions of a resistance which always lies just outside this short film’s visual grasp.     

The camera goes down the streets. Dans les rues (Victor Trivas, 1933) and the Paris of the German émigrés

Marcel Carné's important clarion call to 1930s French cinema 'to take the camera down the streets' was uniquely troubled by the arrival of waves of German émigré filmmakers in the French capital. This article uses one émigré film set in Paris, Dans les rues (Victor Trivas, 1933), as a case study to discuss both the place of the city and the place of the outsider in cinematic cultural representation during this decade. It argues that despite right-wing critical discourse linking Jewish culture with the ill effects of city life, a film like Dans les rues can be seen as an important turning point in the on-screen depiction of Paris. Trivas's film may have looked backwards to 19th-century convention, but, at the same time, it responded uniquely to Carné's concerns to produce an important, though largely neglected, early example of poetic realism.     

Brideprice and Prejudice: An Audio-Visual Ethnography on Marriage and Modernity in Mt Hagen,Papua New Guinea

The relationship between bridewealth and women's autonomy is not only discussed amongst anthropologists, development practitioners and other scholars but also amongst brides themselves. Women continue to embrace such marital exchanges, despite their knowledge of ‘modern’ development discourse about the constraints of the practice on women's status and its links to gender-based violence. This paper provides a visual exploration of contemporary brideprice practices and women's autonomy in Mt Hagen. We draw on scenes from our ethnographic film (An Extraordinary Wedding: Marriage and Modernity in Highlands PNG) to explore deliberations and developments that occurred in the case of a particular marriage that took place in 2012. We argue that the institution of brideprice has the potential to enhance the visibility of some women and the importance of their contribution to their own and husbands' kin groups. Despite current tensions regarding brideprice, it can serve as an avenue for the enhancement of women's political participation. The particular brideprice exchange featured in our film, raised concerns for the participants, which we consider in terms of three questions: Does brideprice commodify women? Does it play a role in gender-based violence? Is it inimical to aspirations for modernist individuality? We discuss the importance of bekim (‘return gift’) and suggest that this practice challenges the notion of brideprice as a commodity transaction. We argue that, while there may be an association between brideprice and gender-based violence, brideprice, in and of itself, is not causative of violence. The marriage represented in the film, and discussed in this paper, reveals the creativity of participants in adjusting the values inherent in the customary practice of brideprice to their contemporary aspirations.     

La re-escritura de la novela romántica argentina del siglo XIX: de Lucio V. Mansilla a Florencia Bonelli en Indias blancas

Contemporary Latin American retro-foundational or neo-romantic narratives allow scholars to reanalyze the nineteenth century's hegemonic discourse. They also provide an opportunity to rethink how social classes, ethnicities, and genders interacted during the past. Argentinean writers are rewriting some novels by authors of previous eras to raise points about national identity and historiography. Indias blancas and Indias blancas: La vuelta del ranquel by Florencia Bonelli are based on Una excursión a los indios ranqueles by Lucio Victorio Mansilla. Mansilla's provocative and long forgotten novel was brought to a new life through the re-examination of the Conquest/s of the Desert, during which the native population of the Argentinean Pampa was gradually exterminated. Although Bonelli's work presents some similar scenarios and themes as Mansilla's novel, the two volumes of Indias blancas parody the époque representation of the virginal, flimsy, powerless, and self-denying Creole women and the vicious savages of the Pampas. In addition, the contemporary narrative satirizes the Creole's civility and paternalism toward the indigenous population, whose displacement benefited the latifundia (large estate) system in Argentina.     

French Intellectuals and the Iraq War

Because of its representation of marginal and often violent milieux, the status of noir fiction has long been that of an ‘inferior’, less ‘literary’ genre. It could be argued that its frequent references to popular culture, and especially television and film, explain its appeal to a wide audience, one that does not necessarily read other genres. The intrigue and setting of the noir novel enables it to be perceived primarily as a ludic activity while often dealing with issues which are both political and ideological. Brigitte Aubert's work makes frequent references to film, TV and popular literature, and this article aims to examine the way these are used, how they play with notions of reality and fiction, how they can create an ironic distance which allows the writer both to create a sense of complicity with the reader and to criticise the society she presents.     

Epitomising the Modern Spanish Nation through Popular Music: Coplas from La Caramba to Concha Piquer, 1750–1990

Music is an important language of the emotions and can often arouse strong passions in its performance and representation, both from the individual's perspective of personal identity and for the individual's sense of identity and of belonging to a given community. Likewise, music can serve to whip up and reinforce nationalism and national chauvinism against the ‘other’ as well as serving as a badge of identity. In this article I explore a musical form, a song that has been defined as ‘Spanish’ and as the ‘national’ song: la copla. Copla is rooted in the past and first appeared as both a poetic and a theatrical form, but always accompanied by music. It was, however, during the eighteenth century, when nationalism made its appearance as a ‘concern’ in the Spanish political‐cultural arena, when coplas would be used as a mark of Spanish identity. Copla is a women's song. Although it has been interpreted by men, some of them internationally renowned like Miguel de Molina, the most famous performers have been and still are women. That is why perhaps a recurrent theme of coplas is unrequited love, whereby love and passion play an important role, either with regard to the individual or the community from which the individual hails. But there are also other themes such as the longing stimulated by alien rule, which is reflected by cultural opposition and resistance to discourses of power, not only in terms of open opposition, but in a more subtle form of resistance, particularly in gender terms. I claim that it is precisely this resistance to fixed discourses of gender that have made coplas excellent negotiators with the different musical, social and political contexts and in this way have made them an icon of the invented tradition that is fundamental in the creation of a nation.     

‘The innate yearnings of our souls’: Subjectivity,Religiosity and Outward Testimony in Mary Howitt's Autobiography (1889)

Recent years have seen a resurgence of interest in women's involvement in nineteenth-century religious cultures. However, the overwhelming focus remains firmly on the role of religion in providing motivation, sustenance and justification for women's involvement in feminism and other public campaigns. Questions of faith and devotion, spirituality and Christian selfhood, and the relationship of spiritual freedom to other liberations – religious issues that are at the heart of many women's life histories – remain largely unaddressed. This article focuses on the life of Mary Howitt, the popular nineteenth-century English poet, journalist and campaigner for women's rights, whose Autobiography (1889) describes an extraordinary religious journey. Raised in a strict Quaker household, Howitt resigned from the Society of Friends in the midst of a Unitarian interlude in the 1840s, became deeply involved with Spiritualism in the 1850s and 1860s, and finally moved to Rome, both physically and spiritually, at the end of her life. The article explores Howitt's representation of the Quaker piety of her youth as stifling and oppressive in its concern with outward forms of religious observance, particularly an emphasis on a traditional style of dress and on resisting ‘worldly’ activities, including poetry and art. A reading of the autobiography alongside her earlier writing reveals how themes become ‘composed’ into a coherent, stable life story, one shaped by later nineteenth-century public discourses that allowed for a greater religious fluidity and a new reflection on childhood experiences.     

Children's interdependent mobility: compositions,collaborations and compromises

This paper discusses findings from Australian research that used a qualitative and participatory methods approach to understand how children develop and negotiate their everyday mobility. Children's mobility negotiations are discussed in reference to interactions with parents, peers and places; journeys in relation to their multi-modality, compositionality and temporality; and mobility formations in terms of ‘companionship’ – travel companions, companion devices and ambient companions. Children's mobility is characterised by interdependencies that both enable and configure this mobility. Three themes – compositions, collaborations and compromises – are used to detail and describe some of the ways these interdependencies take shape and unfold.     

Domestic destinies: colonial spatialities,Australian film and feminist cultural memory work

Elsa and Charles Chauvel's 1955 film Jedda was the first Australian feature film to cast Aboriginal actors in lead roles. The film was also unusual in the context of Australian film of the time for its rural domestic setting. Because the film explored the experiences of its lead character – Jedda – as an Aboriginal child adopted by a white woman, it is also one of the few films of the period to deal with colonial legacies in its attention to policies and practices of assimilation. The twin processes of racialisation and gendering of space in Jedda have been responded to by Tracey Moffatt in her surrealist short film Night Cries. This article uses the notion of intimate geographies to examine the production of relationships of power within domestic space that both films explore. The temporal and spatial practices deployed by the female figures within each film make visible a set of possible transformations of, as well as continuities within, enduring colonial power relations. Moffatt's retelling and respatialising of the Jedda narrative, however, is ultimately understood as a specifically feminist practice of cultural memory work, suggesting that struggles over memory are also struggles over place.     

Exile and return in John Mauropous,Poem 47

Abstract

The author reads an epigram by John Mauropous as an engagement with epic and biblical traditions. Critical studies of exile and return from different eras of the Greek literary tradition by Émile Benveniste, Gregory Nagy and Nancy Sultan are used to provide a theoretical approach to the tradition with which Mauropous engages. It is suggested that Mauropous' wanderings in the territory of the xenos and return to the familiar world of the philos, and especially his personification of his home as a trophos (nurse), allude to Homer, and that epic language and motifs strengthen the poet's assertion of selfhood and make ancient literary themes relevant to Mauropous' life as a scholar and churchman.     

Talking about bodies online: Viagra,YouTube, and the politics of public(ized) sexualities

The development of Viagra in the late 1990s ushered in a new age of conversation about sex and sexuality, as men's bodily abilities were put on display for all to discuss. In 2005, the video-sharing technology YouTube was launched. Taken together, these technological innovations – both biomedical and representational – have produced debate around sex, sexualized and gendered bodies, and sexual health. This article interrogates Viagra-related representations posted on YouTube and analyzes sexuopharmaceuticals as a set of intertextualities that create space for both normative discourses and social critiques. Three analytic themes illustrate how Viagra-related YouTube videos (1) reinforce a regime of self-care within a wider context of individualized responsibility for one's sexual health, (2) highlight the values attached to the pharmasexed gendered body for men and women in the age of Viagra, and (3) provide disruptions, in the form of criticism, to the assumption that healthy bodies and relationships need pharmasexual enhancement. The article concludes by suggesting that social networking sites such as YouTube are managed public spaces through which one can interrogate the intertextualities that link discourses related to bodies and sexual health to the virtual and material spaces of everyday life.     

Personal lives: narrative accounts of Irish women in the diaspora

The burst of writing about Irish women in the diaspora after the 1980s, led by Mary Lennon, Marie McAdam and Joanne O'Brien's Across the Water: Irish Women's Lives in Britain, coincided with the ‘narrative turn’ in the social sciences and literary representation. This paper uses Carol Smart's concepts of Personal Life (2007) – memory, biography, embeddedness, relationality and the imaginary – to examine a range of ways in which personal narratives have become central to our understandings of Irish women and their descendants in both written and visual representations. It interweaves disciplines, bringing together a wide range of sources including academic and public accounts in which Irish women appear both as main characters and in walk-on parts. It explores constructions of these ‘fictions’ and their connections with the biographies of authors.