Responding to the Mystery of Human Existence: David Walsh and Some Contemporaries for and Against Modernity

Abstract

An analysis of David Walsh's critique of modern liberalism based primarily on two of his works, The Growth of the Liberal Soul (1997) and The Third Millennium: Reflections on Faith and Reason (1999). Walsh's assessment of the advantages and disadvantages of modernity are discussed, and comparisons are drawn to the analyses of Eric Voegelin, Pierre Manent, Charles Taylor, and Michael Oakeshott.     

Review articles

Colette is not generally included in recent narratives of twentieth-century French neoclassicism. However, her contemporaries of various political and aesthetic persuasions considered Colette to be a classique of the first order. This article explores classification as classique by critics sympathetic to Charles Maurras and the aesthetics of the Action française as well as left-leaning critics associated with André Gide and the group surrounding the Nouvelle Revue française. The article shows that it is Colette's strong association with a particular type of femininity that allows her to be thought of as classique by critics of such different political and aesthetic commitments. The article also examines examples of resistance to Colette's categorisation as classique, and attempts to assert the modernity of her work, coining the term classique moderne as a way of bringing together diverse attempts to explain the harmony between classicism and modernity in Colette's work. The article suggests that Colette's incorporation in the canon of the classique is part of a larger solidifying of the role of femininity in French identity at that moment.     

Writing from the margins: Marina Carr's early theatre

This article analyses Marina Carr's first four plays: Low in the Dark (1989), The Deer's Surrender (1990), This Love Thing (1991) and Ullaloo (1991). It aims to show how Carr seeks to eschew the mimetic conventions of what can be seen as a dominant, patriarchal theatre establishment, marking (and possibly maintaining) her marginal position as a theatre-maker at the time. I argue that Carr, at this point in her career, was engaged in distinctly feminist theatre practices. Materialist feminist discourse provides a useful framework for understanding what the emergent dramatist was trying to achieve and the meaningful possibilities of her work. A study of this phase of Carr's career, encompassing all four works preceding The Mai, has not been offered in research on the dramatist to date. In addition to expanding the history of feminist theatre practice in Ireland, it promotes an enriched understanding of Carr's theatre as a whole.     

Afinal,o que Querem as Mulheres?: Luiz Fernando Carvalho's Metafictional Critique of Brazilian Television Fiction

Although perhaps best known outside Brazil for the feature-length film Lavoura Arcaica (To the Left of the Father) (2001), the majority of Luiz Fernando Carvalho's professional activity has been in television, where he has directed a number of commercially successful and critically acclaimed telenovelas, mini, and microseries. In Afinal, o que Querem as Mulheres? (After All, What do Women Want?) (2010), the director's first original screenplay for television, Carvalho lays bare his assessment of the audiovisual field by constructing a work of metafiction that is simultaneously a critique of Brazilian television fiction and an example of what an artistically engaged alternative might look like. With the intention of synthesizing Carvalho's position and his aesthetic project as they pertain to the broader field of Brazilian television production, this article analyzes select aspects of Afinal, o que Querem as Mulheres?, highlighting instances of the director's use of non-traditional narrative devices and the microseries as a metafictional critique of standardized Brazilian television fiction.     

The Poetics of Indeterminacy: Corneille's Le Cid

This article theorizes that it was an aesthetic motivation that prompted Corneille to leave Le Cid open-ended, despite his assertion in the 1660 examen that it was respect for the bienséances that obliged him to close the tragedy on such an uncertain note. While moral reservations may have played a role, surely an artist as committed to his craft as Corneille was motivated by some overriding aesthetic goal as well. In consequence, Chimène's defiance at the play's end must be viewed as an integral component of the tragedy and not just a reflection of the author's reluctance to violate dramaturgical precepts. I argue that by leaving the dénouement in doubt, Corneille draws deliberate attention to his aesthetic manipulation of the well-known historical/literary precedent. Additionally, and perhaps more importantly, his aesthetic manipulation of history shields Chimène's heroism from the quotidian reality of degradation and devolution that are the defining traits of non-aesthetic realities.     

Huysmans's Flowers

Contemplating the grotesque specimens just delivered from Paris nurseries, J.-K. Huysmans's decadent esthete, Jean Floressas des Esseintes, reflects on floriculture as the intersection of nature and artifice: “par le temps qui court,” he intones, “les horticulteurs sont les seuls et les vrais artistes.” A multifaceted symbol appearing throughout Huysmans's oeuvre, flowers mark off the stages of the author's artistic and religious development. Beginning with the plebian geraniums of En Ménage (1881), progressing through the Decadent blooms of A rebours (1884), and ending with the lilies in Sainte Lydwine de Schiedam (1901) representing the spiritualization of flesh into holiness, the Huysmansian flower evolves as does the spiritual naturalist who used them in his fiction.     

The Political Thought of David Walsh: A Symposium

Abstract

David Walsh has published a trilogy of books on the ideological, political, and philosophical trajectories of modernity. He confronts the crisis of modernity and argues that modernity has the resources within itself to reestablish a collective commitment to the order of existence. This symposium offers four essays reflecting on and responding to Walsh's assessment of modernity and its prospects.     

Renewing the Political Perspective: Reflections on James Ceaser,Political Science,and Liberal Democracy

Abstract

This is a response to the contributions to the symposium on David Walsh's trilogy on modernity: After Ideology (1990), The Growth of the Liberal Soul (1997), and The Modern Philosophical Revolution (2008). After expressing appreciation for the careful reading the work has received, it enters into a reflection on the underlying unity of the studies. This is intended to address the common concerns that center on the issue of how the modern world is to be understood. It emphasizes the impossibility of separating the attempt to understand modernity from the need to take responsibility for it. This is the perspective that has illuminated the totalitarian catharsis, the durability of liberal political regimes, and the existential turn within modern philosophy. In the latter part of the essay, a response is offered to specific objections and characterizations that individual symposiasts raise.     

WONDER: FROM POETICS TO POLITICS

Marnie Hughes-Warrington's book, History as Wonder: Beginning with Historiography, invites readers to reconsider the power of wonder as a critical concept whose theoretical implications go far beyond its evident ability to inspire historical research. Wonder is supposedly a neutral weapon for historians, one that is limited to promoting incessant curiosity about the past. Attempting to move from a poetic and aesthetic vision of wonder to a consideration of the concept's ethical and political uses, Hughes-Warrington claims that “historians since Herodotus have engaged with or responded to the efforts of thinkers who attempt to make general sense of the world, metaphysicians” (xii). In what follows, I challenge Hughes-Warrington's approach by emphasizing and exploring the epistemological questions History as Wonder raises about who holds the power to establish a conventional sense of the world and to what extent historical research may offer general explanations of the world without succumbing to precritical assumptions or metahistorical reductionisms.     

‘Cleverly Drawn’: Oscar Wilde,Charles Ricketts,and the Art of the Woman's World

This paper offers a new examination of the influential women's magazine, theWoman's World (1887–90), and Oscar Wilde's editorship thereof. Previous studies have focused on the magazine's importance as a venue for promoting proto-feminist writing and for enabling Wilde to boost his professional cachet through editorial work, but the aesthetic aims and execution of theWoman's World merit further analysis. The Woman's World reveals how male artists negotiated aesthetics and Aestheticism between themselves within its pages, as well as how they presented it to the publication's assumed audience of women. This paper particularly centres on the magazine's role in establishing the professional relationship between Wilde and Charles Ricketts, later the designer and illustrator of some of Wilde's most important texts, while simultaneously considering how Ricketts's work furthered the artistic and intellectual instruction Wilde hoped to offer the magazine's readers. Case studies of several of Ricketts's illustrations demonstrate the types of visual reading that the Woman's World seemed to espouse, and which worked in tandem with the textual contents to encourage women to develop critical reading skills.     

Van Gulik's The Lore of the Chinese Lute Revisited*

In this article I propose a critical examination of van Gulik's The Lore of the Chinese Lute (LCL) in respect to its bibliographical sources and consequent aesthetic contentions. Despite being arguably the first academic monograph on the ideology of qin and historically a major non-Chinese source for the study of qin in general, the LCL does not represent van Gulik's mature thinking on qin. The LCL is limited by objective circumstances surrounding its writing and flaws in van Gulik's bibliographical engagement. His study of the musicology of Yueji on the basis of inaccurate translation and a neglect of the Neo-Confucian reading of Yueji, his hypothesis of Daoist dominance and Buddhist or Indian influence in the practice of qin with mistaken evidence, his skepticism of the truth of the literati tradition with fundamental bibliographical flaws, all require reconsideration. The current lacuna in the critical investigation of the LCL not only urges contemporary researchers to continue where van Gulik left off, but also calls for new research projects on qin and Chinese literati music in general.     

NOTES ON CAMPS,OR, COUNTERFACTUAL FÜHRERS AND THE STRUCTURE OF THE JOKE

In this review essay I explore the dynamics of “normalization” in historical and fictional depictions of the National Socialist past, examining both the “organic” normalization of catastrophic events through the passage of time, and efforts to normalize the Nazi past through aesthetics. Focusing on Gavriel Rosenfeld's Hi, Hitler: How the Nazi Past is Being Normalized in Contemporary Culture, I argue against many dimensions of Rosenfeld's account of normalization, particularly his claim that aesthetic normalization can undermine our moral judgments regarding the Holocaust. Drawing on Sigmund Freud on jokes, and Susan Sontag on Camp aesthetics, I argue that every effort to normalize the Holocaust, especially ones that work through humor and jokes (a major topic of Rosenfeld's book), actually maintain the Holocaust's status as a series of historical events resistant to “normalization.” If “normalization” is a process through which extraordinary, or morally charged, historical events lose their moral charge, then aesthetic efforts to normalize the Holocaust actually reinscribe the special moral status that Rosenfeld believes they erase.     

‘The vehicle he has chosen’: Pointing out the theatricality of Caleb Williams

This article challenges the critical view that Godwin's association with the theatre is limited to the ill-fated Antonio (1800), and argues that the theatrical world was extremely important to Godwin the writer and political reformer. It considers Caleb Williams (1794) in this theatrical context and suggests a reading of it as a ‘theatrical novel’ in the light of St. Dunstan (1790), Godwin's historical tragedy. It argues that the novel is structured in such a manner that it reflects contemporary dramatic technique, especially in its incorporation of the practice peculiar to the Georgian stage known as ‘pointing’. I will suggest that this deliberate attempt to ‘narrativize’ this performative technique in fictional prose has profound implications in terms of explaining how Godwin saw his novel interact with its reader and is consistent with the philosophy of Political Justice.     

Children's agency and Islam: unexpected paths to solidarity

This ethnographic study analyzes the experiences of Palestinian children's agency of religion and its manifestation in religion as resistance while it is fighting the globalized hegemony. Children's agency of religion as resistance is cultivated within the debate of Islamist movements and the evolution of Palestinian national identity while it serves as a call for global solidarity. It is this creative construct of agency of religion that transcends borders and distinguishes itself from the old generation method of resistance. The differences between generations on this construct, as described by children's agency and their ability to transform, is constructed by particular meanings of Islamist symbols and rejects the assumption that children's roles are defined. The agency of religion as resistance evolves as the role of religion in national discourse is deliberated in secularism and sectarianism. In 2005/2006, I was awarded the Rockefeller Fellowship in the Anthropology Department of Johns Hopkins University. The award was for my work on children's political socialization in the Middle East. I also have been active with international studies: in 2009, I collaborated with the Children's Rights Unit, Institut Universitaire Kurt Bösch, Switzerland on the research project, Living Rights: Theorizing Children's Rights in International Development. I am serving as research member on the Joint Learning Initiative on Children and Ethnic Diversity (JLICED), Division of Children's Rights. My work has been published in the Journal of Qualitative Inquiry, Childhood, Children's Geographies, Journal of Mix Method Research and others. View all notes     

Memory,narration and spectrality in Brian Friel's Faith Healer and Frank McGuinness's Observe the Sons of Ulster Marching Towards the Somme

This article proposes an examination of how Brian Friel's Faith Healer functions as an intertext in Frank McGuinness's Observe the Sons of Ulster Marching Towards the Somme. This shall be the first extensive consideration of Frank McGuinness's debt to Faith Healer, the play that convinced him that drama was the form most suited to his vision. How both plays consider the relationship between history, memory and art will be a key concern. Attention shall also be paid to the shared cultural and historic traditions that unite both Friel and McGuinness. The essays that McGuinness has written on Friel will be shown to be as valuable in interpreting McGuinness's work as they are to illuminating Friel's. It shall be argued that McGuinness, far from merely parroting Friel's aesthetic, uses the earlier writer's legacy to create new and original works.     

FROM NIETZSCHE'S PHILOSOPHY OF HISTORY TO KANT'S—AND BACK

Reflecting on Anthony Jensen's Nietzsche's Philosophy of History, this essay describes Jensen's account of the three‐stage development of Nietzsche's historiographical practices and metahistorical positions: from his early philological writings, through The Birth of Tragedy, and into the mature philosophy of history that Jensen uncovers in Toward the Genealogy of Morality and Ecce Homo, which, so Jensen argues, consists in ontological realism combined with representational anti‐realism. While Jensen notes the importance of a like‐minded readership for the success of Nietzsche's historiographical projects, the essay asks whether Nietzsche did in fact have such a readership and further emphasizes that the Genealogy and Ecce Homo are structured in such a way that they seek to create one. A similar structure is identified in Kant's “Idea for a Universal History from a Cosmopolitan Perspective.” The essay concludes by reflecting on the significance of this similarity in light of the doctrines of eternal recurrence that are expressed in both Nietzsche's late writings and Kant's youthful cosmology.     

Social Werktreue and the musical work's independent afterlife

New musicology's rejection of formalist precepts eclipses how the subjectivization of aesthetics institutes the schema of music's opposition to reality. Social Werktreue—fidelity to the work and to the faithful reproduction of an original intent—replaces ideals of aesthetic transcendence with analyses of a work's socially constructed meaning. Hence, absolute music's social demystification positions music criticism within a system of oppositions ratified by bourgeois culture. The power individual works exercise in contesting reality deconstructs formalist dogma and social Werktreue. The temporality evinced when works address us in new situations attests to the work's independent afterlife. By confronting formalist criticism and social critique with the schema Kant initiated when he legitimated aesthetic judgment's transcendental function, this independent afterlife argues against transposing the principle of interpretive fidelity onto the social plane. Works reveal dimensions of experience in the midst of existing social and historical conditions, thereby opening new horizons for music criticism.