The orange and the ‘Cross in the Crescent’: imagining Palestine in 1929

Abstract. This article analyses a public discussion held in Palestine during the last months of 1929 over proposals for a particular Palestinian flag. Based on readers' reactions published in the daily newspaper Filastin and on letters sent to the Arab Executive, the article examines the character of Palestinian identity as it was imagined by a certain segment of the Palestinian elite. The three main leitmotifs of the flag proposals – the four colors of the Arab flag, the color orange and the ‘Cross in the Crescent’ emblem – serve as a starting point for discussing the tensions between Palestinian particularism and pan‐Arabism, as well as the status of Muslim‐Christian partnership in a period of increasing Islamisation of Palestinian identity. The second part of the article incorporates a comparative discussion that aims to explain the failure of the color orange and the ‘Cross in the Crescent’ to be accepted as emblems in the national flag. By comparing the unsuccessful proposals with the Arab flag (that eventually became the official Palestinian flag) and with the Lebanese flag, the article suggests their failure was due to three main reasons: (a) they reflected the interests of relatively marginal social groups; (b) they were not raised at a time of sweeping change in the socio‐political order; and (c) they lacked a profound basis in local tradition and the potential to be attached to an ancient past.     

“I am ripe for man”: Gendered Time in Thomas Heywood’s An Emblematicall Dialogue (1637)

In Thomas Heywood’s Emblematicall Dialogue (1637), “Two modest Virgins, of unequall time” discuss love and marriage, focusing on the crucial moment when the maid makes her transition from maid to wife. As the meaning of each naked emblem and of the dialogue form as a whole is revealed through the passing moments of the argument so is the meaning of this moment in time which the maid faces. Cultural and biological imperatives construct time for the maid and become the ground of the debate and of her choices at this pivotal moment which will determine her success or failure as a woman in seventeenth-century England.     

Masters of Healing: Cocaine and the Ideal of the Victorian Medical Man

This article offers a new perspective on the relationship between cocaine and medical practitioners in late nineteenth- and early twentieth-century Britain. Cocaine is often understood as one of a number of potentially addictive substances to which Victorian physicians and surgeons were regularly exposed, and tempted to indulge in. However, while cocaine has frequently been associated with discourses of addiction, this article proposes that it was also widely represented as a technological triumph, and that the drug was frequently used as a symbol for the scientific and moral virtues of the medical man. The argument draws on popular journalism, medical publications, and fiction to establish the cultural context of cocaine at the fin de siècle. In 1884, cocaine was revealed to be the first effective local anaesthetic, and this article traces the processes by which cocaine came to be regarded as the iconic achievement of nineteenth-century therapeutic science. This aura of innovative brilliance in turn communicated itself to the medical professionals who employed cocaine in their work, so that many patients and practitioners alike depicted cocaine as a most fitting emblem for the idealized selfhood of the modern medical man. This idea also informs portrayals of the drug in fiction, and I conclude with a detailed analysis of L. T. Meade’s 1895 short story, ‘The Red Bracelet’ (published in the Strand Magazine as part of Meade’s series, ‘Stories from the Diary of a Doctor’), as an example of the way in which cocaine functions as metaphor for the physician’s unassailable moral primacy and technical excellence.     

内蒙古石棚山陶文试释——中山国族属探源

<正> 自从1974年河北省发现古中山国晚期都城灵寿古城之后,文献上语焉不详的战国中山国,遂被初步地揭开了朦胧的面纱。经过发掘,不但补证了中山国的世系,而且对于其不逊于中原的高度发展的文化,也得以充分的了解。过去有的学者甚至以为中山国还是处于石器时代的落后民族,这样的看法也就冰销云散了。 但是,目前还存在着这样一个问题没有解决,也就是中山国的族属问题。一般认为,战国中山是春秋鲜虞的延续,是姬姓白狄建立的国家。有人则赞成鲜虞子姓的说法,并推测鲜虞应源于商殷后裔。也有人否定中山君统与鲜虞的关系,认为二者既非一国,又非一姓,中     

LEVIATHAN AND KRAKEN: STATES,CORPORATIONS, AND POLITICAL ECONOMY

In our politico-philosophical bestiary, no monster has historically been more prominent than the Leviathan, the whale of the Book of Job, transformed by Hobbes, which has long been ubiquitous as a metaphor or as a signifier in all intellectual traditions touching upon the political. Like the state itself, we argue, the Leviathan has played an outsized role in the way we theorize and imagine relations of sovereignty in the world. This essay seeks to add a new hermeneutical creature to the bestiary: the Kraken. Said to be huge and to lurk in Norway's icy waters, the Kraken first emerged in the accounts of natural philosophers in the eighteenth century, at the very moment when political economy was becoming the premier science of governance in Europe. Leviathan is an emblem of a kind of state that no longer exists and has never existed, and it remains our most potent emblem of the state's reification, a relentlessly compelling figure that has long blinded historians to alternate sovereignties within, across, and outside the physical territories of states. From stateless financial capital to multinational corporations acting like states on the world stage, such forms of sovereignty are an essential feature of the global politics we are now living. These forms are not new, nor is their emblem: the Kraken.     

Stamped Signs on Manuscript Maps in the Renaissance

Abstract

The cordiform projection employed by Oronce Fine, Gerard Mercator and Abraham Ortelius may have had a hermetic meaning. The focus in this paper is on Ortelius, for recent studies have suggested connections between Ortelius, Christopher Plantin and a clandestine religious sect in Antwerp, called the Family of Love (Family of Charity), whose emblem was the heart, source of divine illumination and of Free Will. It is argued that Ortelius's contemporaries in the radical religious circles of northern Europe would have perceived the Theatrum orbis terrarum in such a light. As Guillaume Postel's evaluation of Ortelius's work demonstrates, the atlas was considered a talismanic book based on the power of the images.     

Ophthalmoscopy in Charlotte Brontë's Villette

This essay re-examines the representation of scopic conflict and discipline in Charlotte Brontë's novel, Villette (1853), within the context of the reconfiguration of the eye during the 1850s. Villette is pioneering in its representation of an ophthalmoscopic conception of the eye, as an organ which could be looked into by medical practitioners as well as looked at. This notion of the eye was only possible after Hermann von Helmholtz's invention of the ophthalmoscope in 1850. Villette is thus one of the first literary responses to the newly visible living retina. This essay argues that in light of the novel's emphasis on a penetrable, legible eye, the critical emphasis that scholars have placed on surveillance as a disciplinary model in Villette is overstated. Visual exchanges are described not in the disembodied abstractions of panopticism, but with references to a violent lexicon derived, in part, from the novel terminology of ophthalmoscopy. The prominence of opthalmoscopy points towards a remedial narrative in which diagnosis is succeeded by surgical intervention, and ultimately the restoration of sight. M. Paul Emanuel is the principal emblem of this visual practice: a merciless autocratic ophthalmologist who brings pain but also palliation. Villette's remedial narrative is organized around three devices designed to respectively look into, perforate, and enhance the human eye: the ophthalmoscope, the stylet (an instrument used in eye-surgery), and spectacles. This analysis adopts a historicist approach to re-contextualize Brontë's imaginative depiction of optical technology and perception within the mid-century emergence of ophthalmology.     

Bernard Faÿ, Antoine Compagnon: the modern/anti-modern,or the delicate balance of the ‘Entre-Deux’

This article examines Antoine Compagnon’s Le cas Bernard Faÿ: du Collège de France à l’indignité nationale in the light of Compagnon’s intellectual trajectory and in connection with his conception of modernity, in particular French modernity. A sum of contradictions, at once modern and anti-modern, modernity is for Compagnon essentially ambivalent. Its emblem is Baudelaire, whose aesthetic predilection for the modern beauty of the present was paradoxically entwined with his hatred for modernization. Compagnon sets Baudelaire’s intensely nostalgic and somehow already postmodern modernity against the effusive ideology of ‘modernism,’ identified with the cult of progress, the equation between aesthetics and politics, and the lyric militancy of the avant-garde. Through the Janus-like figure of Bernard Faÿ, a modernist aesthete who was Gertrude Stein’s best friend and who turned into a collaborator and a persecutor of Freemasons during the Second World War, Compagnon excavates, at the crossway between aesthetics and politics, at the intersection of modernism and fascism, the contradictions of modernity and the paradoxes of the history of twentieth-century France. In the meantime, going against the linear grain of the great modernist narrative, Compagnon defines the tasks of the new literary history of modernity.     

“We are Reindeer People,We Come from Reindeer.” Reindeer Herding in Representations of the Sami in Russia

Abstract

Reindeer herding, a tourism emblem of the European North, is also part of a long-lasting tradition of objectification of Sami culture in Russia. Sustained in the popular imagination by Russian ethnography, the dominant order's agent for legitimization of Soviet ethnic policies, in the 1990s the tradition of exoticization and “othering” was strengthened by Western anthropological and political engagement with the indigenous debate in Russia, transposing on the Sami the imagery and ideals of the global indigenous movement. Business aspirations to utilize the persistent imagery of exotic otherness gave birth to ethnographic tourism in the Kola Peninsula, Northwest Russia, which markets indigenous culture as an attraction. In this paper, I analyze how these diverse discourses equally reify and exploit the concept of Sami reindeer herding and the effects that such representational economy has on the community.     

Palawa Kani and the Value of Language in Aboriginal Tasmania

Over the past forty years the Tasmanian Aboriginal people, long marked as an iconic case of extinction, have revitalized many elements of their ‘lost’ culture. Palawa kani, the constructed Tasmanian Aboriginal language, is an example of such efforts. The construction and utilization of palawa kani is one element of a broader Tasmanian Aboriginal cultural politics working to strengthen the Indigenous status, authenticity, and presence in Tasmania specifically and Australia more generally. In this article I recount the historical documentation of Tasmanian Aboriginal languages and analyze the process through which multiple historical languages were utilized in the construction and consecration of a single ‘official’ Tasmanian Aboriginal language. Rather than existing strictly as a tool for communication, I argue palawa kani is a cultural artifact that, like an emblem, works to distinguish the Tasmanian Aboriginal community, one that lacks many of the stereotypical components of Australian Aboriginality, within Tasmanian society. As such, it is best understood in relation to Clifford's ‘indigenous articulations’ (2001) and Cowlishaw's mythopoeia of Aboriginality in Australia (2010, 2011). I examine what palawa kani does for, and what it represents to, the larger Tasmanian Aboriginal community.     

Tilling the Field of Interest Group Research: An Overview of New Insights

Abstract

This article argues that The Lives of Others contains a particularly powerful portrait of what the Czech dissident–philosopher Václav Havel called “post-totalitarianism.” I will explore Havel's understanding of this concept and the film's evocation of its key features. In Havel's view, these regimes preserve themselves through the principle of “social auto-totality.” They make every person, every citizen, an accomplice in their own oppression. Even more troubling for Havel is that these regimes do not continue to exist because of the evil will and historical misunderstandings of their originators. He suggests these horrors “can happen and did happen only because there is obviously in modern humanity a certain tendency toward the creation, or at least the toleration, of such a system.” Donnersmarck's brilliant film explores how it is that people are capable of living within a lie. This leads to a consideration of an important but heretofore unexplored question: What is the meaning of the movement of a totalitarian regime to a post-totalitarian regime? Was what seemed for many in the West to be a sign of Communism's ability to moderate itself actually the emblem of its true evil?     

Proselytizing Islam — Problematizing “Salafism”

This article discusses the contemporary European setting pertaining to Islamic interpretations, mainly so called Salafi Islam. The empirical material is based on publications by a Swedish group that conducts street da?wa, aiming to proselytize among non‐Muslims. The ideology, as presented in official publications to be used for da?wa, is described and analyzed as part of a larger da?wa‐movement with Salafi‐inclinations in Europe. The group is not unique, but rather one example of many in Europe, at least concerning the activism advocated. The presentation of the group serves to reflect upon global influences and similarities among contemporary Islamic da?wa activism, as well as effects that the national context has on the choice of predominant themes addressed by the group as well as interpretative strategies used. The overarching aim with the article is to problematize the common usage of the concept Salafi among scholars of religion to describe and characterize contemporary Islamic groups of various kinds. The conclusion calls for a more nuanced approach concerning conceptualizations and the use of typologies in studying contemporary Islamic groups in a minority setting.     

Nostalgia or das Heimweh: Homesickness and the Press-ganged Soldier in Sylvia’s Lovers (1863)

This article argues that Elizabeth Gaskell’s historical novel Sylvia’s Lovers (1863) uses nostalgia as a literary aesthetic and historical context to articulate a narrative of disorientating epochal change. Gaskell’s novel draws on nostalgia’s roots as a psychosomatic disease afflicting soldiers displaced by international conflicts to reassert the traumatic roots of a familiar feeling often understood as superficial and insignificant. Nostalgia began as a disease brought on by migration and only later came to be thought of as a type of sentimental memory; first home was far away and then it was long ago. Gaskell’s novel incorporates both, mingling longing for a place with longing for a past. This double distancing articulates an experience of transition within her historical novel. She draws on an eighteenth-century trope used by figures such as Jean-Jacques Rousseau and William Wordsworth, repurposed for the demands of prose fiction. The homesick soldier who was the first sufferer with pathological nostalgia is cast as the central protagonist of historical transformation and an emblem of uneasy transitions. Sylvia’s Lovers has received scant critical notice to date and, perhaps for this reason, its explicit allusions to nostalgia, and the role they play in Gaskell’s historical imagination, have been left entirely unremarked.     

Facing Climate Change: Andrea Juan's Visual Play with Science and the Sublime

Andrea Juan has responded to climate change in her art since 2002, highlighting the potential enjoyment of uncertainty and the pleasure of discovering this ecological crisis. Through an examination of El bosque invisible: Serie Antártica [The Invisible Forest: The Antarctica Series], 2010, this article will examine how Juan represents environmental transformations through her process, aesthetic choices, and work in Antarctica. Antarctica—an emblem of environmental change and advancements in scientific research—serves as one of the main stages for Juan's placement of colorful fabrics and cloth figures that are meant to represent specific natural phenomena connected to climate change. Juan's documentation of these scenes in videos and digital stills quotes the Romantic tradition of the sublime in landscape painting, the artist-traveller, and a heroic notion of scientific fieldwork, which exposes a continued desire for control despite our increasing knowledge of our limitations, as well as two principal means through which we understand climate change: science and the sublime. Furthermore, the pleasing quality of Juan's art, in spite of the crisis to which she alludes, aligns with contemporary trends that favor participation, pleasure and hope. This tendency itself exposes the uncertainty of art's role in the face of such crises.     

‘Knitting needles,knotting shuttles, & Totums & Cards & Counters’: The Bluestockings and the Material Culture of Fibre Arts

In this paper I want to tease out threads in the socio-economic narrative of fibre arts by using the case study of the Bluestocking Circle, in particular Elizabeth Montagu (1718–1800), Mary Delany (1700–1788) and Montagu’s sister, Sarah Scott (1721–1795). To contrast these lives through the lens of material culture, we can identify needlework and textiles as a subtle marker of social mobility and disparities in wealth within one social circle (the Bluestockings) and family. Whilst Mary Delany combined scientific interest with technical skills, Elizabeth Montagu commissioned decorative fibre arts, such as her famous feather work, for public display, and her sister Sarah Scott, forced by diminished social and economic circumstances, concentrated on practical dress-making and alteration and appliqué. Both sisters, though born into the same family, thus developed very different textile skill sets. The production of textiles carried class markers in terms of what kind of work was produced and what kind of materials and techniques were used. Thus, fibre arts, like fashion, were ‘an emblem of material self-advancement, [and] … a badge of moral worth’ (John Styles, The Dress of the People (New Haven: Yale University Press, 2007), p. 60).     

The Story of Koula: music and nationhood in Greece

The Story of Koula, one of the Marshall Plan films, was made in Greece in 1951. It neatly exemplifies the capacity of Europe to ‘talk back’ to the USA within the framework of cultural aid programmes. And as such it can introduce a little‐explored topic: the politics of the avant‐garde in Greece in the post‐Civil War years and in particular the role of US cultural aid. This post‐war perspective throws light on the better‐known National School associated above all with Manolis Kalomiris, who dominated Greek music and musical life in the interwar period. The second part of this paper scrutinises the agenda and achievements of the Kalomiris circle, and that in turn enables useful generalisations about romantic nationalism in music. The third part of the paper reflects on the pre‐World War I achievements of Heptanesian traditions, again caught between singularities and dependencies.     

From nation to population: the racialisation of ‘Métis’ in the Canadian census†

ABSTRACT. Between 1996 and 2001 the ‘Métis population’ of Canada skyrocketed from 204,000 to 292,000, an astonishing and demographically improbable increase of 43 per cent. Most puzzling about this ‘increase’ is not so much the unpersuasive explanations offered by statisticians and others but, more fundamentally, the underlying assumption that such a thing as a ‘Métis population’ exists at all. In contrast, I argue that such an idea constitutes an artifact of Canada's racial/colonial episteme in which ‘the Métis’– formerly an indigenous nation invaded and displaced in the Canadian nation‐state's westward expansion – have been reduced in public and administrative discourse to include any indigenous individual who identifies as Métis: reduced, in other words, to (part of) a race. The paper argues further that the authority of the Canadian census as a privileged forum of contemporary meaning‐making in Canadian society is such that the lack of explicit Census categories to distinguish Métis Nation allegiance further naturalises a racialised construction of Métis at the expense of an indigenously national one.     

Bodies in “Heathen” Places: Regulating Marriage without a State

In 1787 Bishop in the Moravian Church August Spangenberg drew up a set of Instructions and an official statement (Gutachten) on the problem of marriage within the “Heathen” congregations. Alarming reports from the missionaries revealed that lack of civic laws, a particular mindset cultivated by said laws, and a well‐organised state meant that the sexuality of non‐European congregants could not be regulated and ordered. The present article analyses the seemingly coherent European context, which Spangenberg uses as a contrast to the unruly native communities in the first part of the Gutachten and examines what he emphasises as the parameters within which proper marriage regulation can take place. Given the pre‐Revolution date, and the current state of the state at this point in history, the Gutachten could give us valuable insights into the process of the formation of the state and its fundamental institutions.