On bullshit in cultural policy practice and research: notes from the British case

In 2005, Harry G. Frankfurt, a retired professor of moral philosophy at Princeton University, made it into the best‐sellers chart with his book On Bullshit. Taking his essay as its starting point, this article explores the analysis of bullshit and the prevalence of bullshitting in the contemporary public sphere. Frankfurt’s short essay indeed provides an intellectual framework to interpret and understand contemporary rhetoric and practice in the cultural policy field, as well as recent trends in cultural policy research. Through a discussion of selected New Labour’s cultural policy documents in Britain, the article aims to show that many of the key actors in the cultural policy debate indeed display the ‘indifference to how things really are’ and the cultivation of vested interests which Frankfurt attributes to the activity of bullshitting. The final part of the text discusses the implications of the present status quo for ‘critical’ cultural policy research.     

Framed Memories: The Politics of Recollection in Mana Neyestani’s An Iranian Metamorphosis

This essay examines the graphic memoir An Iranian Metamorphosis, by the acclaimed cartoonist Mana Neyestani, in the context of Iranian diaspora literature, particularly the genre of comics. Neyestani’s book is analyzed for its engagement with the politics of exile literature, and its attempt at challenging a two-dimensional view of the political discourse, in which the ethical boundaries of pro- and anti-government are overtly simple. The essay focuses on the book’s narrative techniques that exhibit a complex awareness of what is anticipated from a representative work of Iranian exile memoir, and the way it negotiates its own narrative politics. To clarify the arguments, several comparative examples are drawn from two well-known graphic narratives by Iranian diaspora authors, Marjane Satrapi’s Persepolis, and Amir and Khalil’s Zahra’s Paradise.     

The Ambivalent Thematics of Commodity Fetishism in Contemporary Latina/O Narrative Fiction

One of the chief cultural dynamics in the contemporary United States is the omnipresent commodity fetishism that drives its consumer society, so it comes as little surprise that this figures prominently in the attempts of much contemporary U.S. Latina/o fiction to come to terms with the social milieu of the late twentieth- and early twenty-first-century United States. This essay argues that Helena Maria Viramontes’s Miss Clairol, Sandra Cisneros’s Barbie-Q, and Junot Diaz’s The Brief Wondrous Life of Oscar Wao each manifest a deep-seated ambivalence towards commodity fetishism: an awareness of how the agency to break with traditionalist modes of being and some measure of cultural assimilation might be achieved through engagement with fetishized attributes commodities place on offer, yet one that is tempered by an appreciation of the dangers such as alienation and cultural homogenization that also proceed from immersion in a world defined by commodity fetishized relations.     

Sandro Penna and anti-Oedipal impegno

A number of Italianists have recently argued the need to reconsider the term impegno in the light of feminist and queer critiques. Such critiques do not simply highlight the way in which impegno has usually been construed as a masculine, heterosexual domain. They also note that its employment often presupposes a gendered, heteronormative account of politics itself. Complicating this sense of politics via a reading of recent work in queer theory which insists that desire and need are intertwined, this essay argues for a reconsideration of the work of Italian poet Sandro Penna – someone whose oeuvre has regularly been construed by literary critics as apolitical – as an example of impegno. Bringing together psychoanalysis, the work of Michel Foucault, and historical materialism, the essay argues that, in their historical context, Penna's poems staged a resistance to what Freud termed the genital organisation of the libido and are thus ‘anti-Oedipal’.     

Andrew Marvell and the Dutch fifth column: new evidence from a copy of Mr Smirke with authorial annotations

ABSTRACT

This essay discusses a previously unknown copy of Andrew Marvell’s Mr Smirke, which features annotations in his hand. We argue that the recipient of the volume was the Anglo-Dutch agent “William Freeman”, who was closely involved with a Dutch fifth column, set up by William of Orange and his spymaster Pierre Du Moulin, which lobbied Parliament during the Third Anglo-Dutch War. The essay discusses further archival evidence of Marvell’s links to Freeman and argues that their connection persisted after the end of the Third Anglo-Dutch war. Finally, the essay argues that these links throw new light onto the development of Marvell’s late prose work, An Account of the Growth of Popery and Arbitrary Government, which is more closely influenced by other pamphlets associated with William’s propaganda efforts in England in the 1670s than has been hitherto realised.     

From Paper to Celluloid and Back Again: Finance and Form in Jorge Délano’s Films

This essay argues that our current understanding of the cinematic work by the pioneering Chilean film director Jorge Délano obscures a sophisticated interaction between politics, art and economics, one that reveals unexamined aspects of how the film industry developed in Chile. Most notably, it argues that Délano’s illustrated political satire magazine Topaze was central to the development of early sound cinema in the country. Following Rielle Navitski, the essay utilizes and examines tensions between models drawn from periodical studies and the concepts of remediation and intermediality in film studies. Examining illustrations from the first three years of Topaze’s production (1931–1933) in the context of the country’s economic situation, the essay argues that Délano remediated cinema in Topaze as a strategy of capital accumulation. This analysis also makes it possible to see how one of his sound films, Escándalo (1940), similarly remediated the illustrated paper periodical as he pursued financing for the production of cinematic commodities for export. The essay ends by examining the relationship between these issues and the political situation in early Cold War Chile.     

Faith,Pluralism, and Public Engagement

Abstract

This essay is Miroslav Volf’s reply to the respondents to his book A Public Faith (2011). In the process of engaging his his respondents, the author articulates the main thesis and thrust of the book as well as the motivation behind writing it.     

Ordinary culture in a world of strangers: toward cosmopolitan cultural policy *

The image of Zwarte Piet, as part of Dutch Sinterklaas celebrations has caused heated debate in the past decade, which has polarized tensions between the ‘Dutch’ and ‘strangers’. This article argues that the debate cannot be resolved within a framework of a methodologically nationalist cultural policy. Building on Kwame Anthony Appiah’s book Cosmopolitanism: Ethics in a World of Strangers, I argue that a cosmopolitan framework for belonging is not only a normative but also a policy imperative. Cultural policy should recognize our shared global belonging, rather than building a national polis predicated on difference that sets us apart. However, a methodologically cosmopolitan cultural policy cannot be a blanket approach to replace or undermine national frameworks. It should embed the nation in a cosmopolitan public policy to accommodate cultural and religious diversity under globalization that has irrevocably eroded the illusion of a national unity.     

Tools for Reordering: Commonplacing and the Space of Words in Linnaeus's Philosophia Botanica

While much has been written on the cultural and intellectual antecedents that gave rise to Carolus Linnaeus’s herbarium and his Systema Naturae, the tools that he used to transform his raw observations into nomenclatural terms and categories have been neglected. Focusing on the Philosophia Botanica, the popular classification handbook that he published in 1751, it can be shown that Linnaeus cleverly ordered and reordered the work by employing commonplacing techniques that had been part of print culture since the Renaissance. Indeed, the functional adaptability of commonplace heads allowed him to split and combine the book’s chapters and tables and played a notable conceptual role in the way in which he spatialized words and, to a certain extent, specimens.     

‘She-who-must-be-obeyed’: Anthropology and Matriarchy in H. Rider Haggard's She

This essay examines the nineteenth-century debate about an imagined matriarchal past, arguing that it raised significant questions about gender and history. It scrutinizes the interdisciplinary nature of the debate, demonstrating that anthropology and literature intersected in a fraught investigation of ‘mother-rule’. The essay contends that H. Rider Haggard's novel She (1887) engages in complex ways with anthropological visions of a matriarchal past. The work of the major matriarchal theorists, J. J. Bachofen, J. F. McLennan, John Lubbock, and L. H. Morgan, often seen as triumphalist accounts of the transition from matriarchy to patriarchy, was beset by tensions about gender, power, and temporality, caught between evolutionary meliorism and nostalgia, between a defence of patriarchy and recognition of cultural variability. Haggard's She, the essay argues, exposes and deepens the tensions at the heart of the anthropological narrative. Critics have conventionally read She as a matriarchal dystopia, yet the novel offers an ambivalent dramatization of matriarchy, and is attracted as well as repelled by the matriarchal past embodied in the white African queen Ayesha and her people, the Amahagger. More than a femme fatale, Ayesha is sorceress and scientist, harbinger of life and of death; even her violence unsettles assumptions about gender and power. Haggard's evocation of the Amahaggers’ marriage practices works to question the anthropologists’ hierarchical cultural evolutionism, moving towards an appreciation of plural cultures. The narrative's insistence on cyclical temporalities also disrupts a linear narrative of progress from matriarchy to patriarchy, conveying the potent attractions of a resurgent female past.     

THE ANTHROPOCENE AND THE PLANET

Dipesh Chakrabarty's The Climate of History in a Planetary Age is, in three respects, far more than a synthesis of over a decade of pioneering conceptual work aimed at making sense of the Anthropocene/planetary predicament and its implications for historical understanding. First, the book makes visible an intellectual trajectory in which Chakrabarty's conceptual struggles with the Anthropocene gradually move from the centrality of the notion of the Anthropocene toward the centrality of the notion of the planet. Second, it highlights the relational complexities with which one needs to grapple when trying to make sense of the current predicament. Third, and finally, the book showcases a series of often overlapping conceptual distinctions that Chakrabarty has developed while navigating these complexities. Through a discussion of the above key aspects, this review essay highlights the achievements of The Climate of History in a Planetary Age and critically engages with its central themes. In dialogue with the book, it pays special attention to exploring the respective benefits and drawbacks of the notions of the Anthropocene and the planet, and to the character and role of human agency in the Anthropocene/planetary predicament. Finally, the essay concludes with a few thoughts concerning the question of what kind of a reinvention of historical understanding might be triggered, respectively, by the notions of the Anthropocene and the planet.     

‘It’s Like Biting Your Own Tail’: Pedro Lemebel’s Queer Response to the Challenge of Subversion in Neoliberal Times

Using the methods of textual analysis and in conversation with both Latin American cultural studies and queer studies, the essay examines the ways that Pedro Lemebel’s diverse body of work – ranging from live performances, fiction, non-fictional crónicas, and interviews – engages the limits of subversion in neoliberal times. On the one hand, Lemebel’s work has been routinely framed in terms of its subversion of gendered, sexual, and political norms. On the other hand, scholars and commentators have not deeply engaged the many ways that Lemebel’s own work comments on and represents the challenges of producing subversive cultural productions in a globalized, late capitalist environment in which subversion, including his own, can be undone precisely when it is most celebrated, valued, and commodified. Reading Lemebel’s commentaries and interviews as producing cultural criticism that complements his better-known crónicas’ and performances’ ideological narratives, the essay argues that Lemebel’s oeuvre repeatedly addresses the challenges of performing a delicate dance between resistance and co-optation, given his acknowledged inseparability from the market. Taking Lemebel as a model for this balancing act, the essay ultimately aims to reveal and critique some of the ways that we academics tend to read sexual dissidence as successful subversion without recognizing its complications and limits.     

E.A. Markham’s St. Caesare: the other “Ulster”?

This essay examines the invented Caribbean island of St. Caesare and its relation to the representational space of “Ulster” in Montserratian poet E.A. Markham’s collection Letter from Ulster and the Hugo Poems (1993). As the title of the book implies, it unites two of the poet’s home islands, Ireland and Montserrat. Ireland was Markham’s home at the moment when he drafted many of these poems, as he was Writer-in-Residence at the University of Ulster at Coleraine from 1988 to 1991. However, as a Caribbean writer of Afro-Irish heritage, Ireland is also home in that it represents a “hinterland”. Of the Caribbean islands, Montserrat is the most closely identified with Ireland owing to its Irish cultural inheritance, which has earned it the nickname “The Emerald Isle of the Caribbean”. This article surveys Markham’s depictions of St. Caesare and “Ulster” as analytical spaces that enable him to chart the palimpsestic topologies of Montserrat and Northern Ireland. The author argues that Markham limns St. Caesare and “Ulster” as transatlantic mirror images to allow for critical relationality between Montserrat and Northern Ireland.     

On Political Theology: The Hidden Dialogue between C. Schmitt and Ernst H. Kantorowicz in The King's Two Bodies

In recent years, Ernst H. Kantorowicz's work The King's Two Bodies (1957) has been the object of both historical and philosophical research. Kantorowicz decided to subtitle his book ‘A Study in Medieval Political Theology’, but few scholars have actually recognised his work as research in ‘political theology’. The aim of this article, then, is to uncover the sense(s) in which his book might be considered a work of ‘political theology’, especially in the sense coined by Carl Schmitt in 1922. Such a discussion ultimately aims to contribute to the foundation of political-theology research, a subject that has been widespread among European intellectuals in the twentieth century and which continues to be a focus of interest. This article argues that Kantorowicz's book can be interpreted as a practice of—and also an enriching addition to—Schmitt's thesis on political theology, even if it does not mention Schmitt's name. Such a conclusion is only possible by accepting that there was a heated dialogue between Kantorowicz and Schmitt through Erik Peterson's work. The article further discusses its approach with other scholars that, even though they are based on similar hypotheses, make different conclusions.     

In search of Derek Freeman

Truth’s Fool is a sympathetic biography of Derek Freeman, the anthropologist best known for his scathing critique of Margaret Mead’s Coming of Age in Samoa. Hempenstall, a historian, chronicles Freeman’s life and work, including an appraisal of the Mead–Freeman controversy. Hempenstall is interested in Freeman’s ideas, motives, and intentions as well as his personal struggles. He argues that Freeman has been misunderstood, maligned, and vilified in an uncivil “war” among cultural anthropologists. This review examines Hempenstall’s interpretation of Freeman’s personal struggles and his perspective on Freeman’s two books on Mead and Samoa.     

Whatever Happened to The Little Black Fish?

This essay uses retranslation studies to trace the defanging and domestication of Samad Behrangi’s The Little Black Fish, a children’s story once hailed as a major revolutionary and literary text. Behrangi’s book is the only modern Iranian prose work to have been translated multiple times both before and after the Islamic Revolution of 1979. The study compares the texts from several of these retranslations, by considering whether they have been domesticated for their English readers, as well as their context, by looking at the cultural impact of such factors as the Islamic Revolution and US?Iran relations. It looks at how various translators and publishers have interpreted the story and how their perspectives reflect Iranian history, the influence of Middle East studies, and the interests of the Iranian diaspora. The result sheds light on translation norms, as well as on the circulation and interpretation of Iranian literature in the global context.     

On Not Reading The Soldier’s Pocket-book for Field Service

This essay focuses on Garnet Wolseley’s controversial war instruction manual, The Soldier’s Pocket-book for Field Service (1869). While the Pocket-book’s contribution to discussions of reading and soldiers’ education has carved out a significant place for it in Victorian military history, in its day it was constantly contested and undermined by contradictory representations, as a book much talked about but little read. This essay is an exercise in tracing these eccentric reception histories, as an acute reminder that books may well have vibrant intellectual lives without actually being read. To examine the literary and material circulation of the Pocket-book in the late nineteenth century, it draws on archival research in the Macmillan Archive and Wolseley’s private papers to discuss the genesis of the text not just as a compendium of information but also as an object that is handled, carried, and exchanged. I juxtapose these considerations with episodes in the representation of the Pocket-book: in an anti-war pamphlet; an anonymous satirical drawing found in Wolseley’s personal scrapbooks; and in Kipling’s short stories about British soldiers in colonial South Asia. In all of these, the Pocket-book is characterized as a dubious, even dangerous text – one that was neither read, nor should be. The examples demonstrate three of the different trajectories through which the Pocket-book emerged as an unread book in the Victorian imagination: through encouragements not to read, rejection, and misappropriation.     

History of European ideas

This essay explores one of the potential implications of the cross-displinary work implied in the idea of a literary instrument of enlightenment through a consideration of the relationship between James Macpherson's The Poems of Ossian (1761–1763) and their most immediate social-political context, Adam Ferguson's Essay on the History of Civil Society (1769). It notes that revisionism of Macpherson that has tended to minimise the disruptive elements in Ossian in favour of a reading in terms of cultural wishfulfilment. The essay argues however that while Macpherson's prose theorising seeks to transcend the anxieties about progress and corruption articulated in the Essay, the peoms themselves offer eloquent testimony to the force of those anxieties, and rather than solving them restates them in pressing terms. This, the essay concludes by suggesting, is a measure of their literariness, and it not to be elided in the otherwise entirely appropriate reading of Ossian as a literary instrument of enlightenment.     

Godot’s Shakespeare

While the connection between Samuel Beckett’s Waiting for Godot and King Lear has become something of a critical commonplace, references to other Shakespeare plays can also be found throughout. This essay traces Godot’s debt to two plays in particular. First it argues how Godot not only draws on Hamlet’s graveyard scene for macabre imagery, but how it also construes an extended meta-theatrical parody of Hamlet’s soliloquies about the contrast between acting and talking/thinking. The second half of the essay proposes a number of connections with The Tempest, and specifically with its “salvage and deformed slave” Caliban. It argues how the figure of Caliban not merely functions as a model for a colonial power-dynamic that can be seen to operate here and elsewhere in Beckett, but how Caliban is equally significant as a lyrical figure whose great speech about sleeping, waking, and dreaming informs Beckett’s play in a number of ways.