A Life in Progress: Motion and Emotion in the Autobiography of Robert M. La Follette

Abstract

This article is a study of La Follette's Autobiography, the autobiography of the leading Wisconsin progressive Robert M. La Follette, which was published serially in 1911 and, in book form, in 1913. Rather than focusing, as have other historians, on which parts of La Follette's account are accurate and can therefore be trusted, it explains instead why and how this major autobiography was conceived and written. The article shows that the autobiography was the product of a sustained, complex, and often fraught series of collaborations among La Follette's family, friends, and political allies, and in the process illuminates the importance of affective ties as well as political ambition and commitment in bringing the project to fruition. In the world of progressive reform, it argues, personal and political experiences were inseparable.     

Policing the Holy Nation: The State and Righteous Violence in Vanuatu

ABSTRACT In Vanuatu, the police force has in recent years been strengthened by foreign government aid. AusAid and NZAid are heavily involved inside the police force, seeking to create ‘good governance’ and to shape Vanuatu's national developments. However, these measures also coincide with some other unexpected developments. Recent cases of violence, and especially of sorcery, have led the police to intervene in a quest for moral order. Police are becoming part of the articulation of new occult understandings of wealth and power. These developments are traced back partly to the history of colonial governance and the idea of righteous violence, but also to current restructurings of the Vanuatu state and growing Christian conceptions of Vanuatu as a holy nation.     

The Event in John Latham and Bob Cobbing

ABSTRACT

This article documents some examples of the event-responsive poetry of the British poet Bob Cobbing (1920–2002) and compares it to the unique theory of the event structure developed by British sculptural and conceptual artist John Latham (1921–2006). It establishes points of intersection between their practices, and particularly at the level of aesthetics where very little comparative work exists. While both men are best known for their experimental 1960s work (Cobbing in relation to sound and concrete poetry, and Latham in relation to conceptual art) this article focusses on their earlier work as being preparatory to their later, more developed practice. Artistic affinities are contextualized in relation to World War II, the dialectic of romantic and classical art, and the institution of welfare-capitalism. How poet and artist both visually represented time (drawing on scientific discourses to do so) is further identified as a link between their practices.