Review articles/Besprekingsartikels

Abstract

Swiss missionary Henri Alexandre Junod has been widely recognised for his extensive entomological, botanical, linguistic and anthropological contributions regarding southern Africa. However, shortly after publishing his most acclaimed work, The Life of a South African Tribe, Junod wrote a little-studied novel, Zidji: étude de m?urs sud-africaines, in which he endeavoured to give a detailed portrayal of South African Society. Interestingly, he chose fiction as the best vehicle for conveying what he saw as the 'truth' of the situation. As the only novel written by Junod this is a unique piece of writing in relation to his other work and its study shows that it is essential to an understanding of Junod. In Zidji he attempts to give a complete picture of South African society at the beginning of the twentieth century by recounting a black convert's experiences of what Junod considered to be the three main influences acting upon black society of the time, that is, tribal life (paganism), the mission station (Christianity) and white society (civilisation). By considering his depiction of South Africa, in particular his presentation of 'civilisation', further light is shed on his sentiments and perspective of the missionary encounter, social change and race relations in South Africa.     

The history and philosophy of social science

Carlo Ginzburg is best known as the author of a popular and widely commented work of microstoria Il formaggio e i vermi, published in 1976. Rather than focusing on Ginzburg's contributions to the genre of microstoria, or on the development of his long and very productive scholarly career, my aim in this article is to reflect on a set of themes that recur, with impressive persistence, in his work, from his earliest publications in the mid-1960s, to his most recent works. Above all, I suggest that two elements recur in his work, and that these, jointly, impart upon it its defining character. They are the concern with epistemological issues of knowing, and the ethical conception of the historian's work, which Ginzburg expressess and defends with urelenting rigour.     

Ema is by Nature a Political Animal: Politics and Capitalism in César Aira's Ema,la cautiva

Where much research focuses on comic and playful elements in César Aira's work, or on the forms of Aira's literature and its relationship with Argentine or Latin American literary tradition, this paper constructs a political reading of Aira's novel Ema, la cautiva. I consider the historical circumstances of the periods in which Aira set and published his novel (immediately prior to the culminating episode in the Conquest of the Desert in 1879 and during the military government of 1976–1983 when references to the Conquest of the Desert were utilised to justify the ‘dirty war’) to argue that, although Aira's ironic mode of writing makes the development of parallels between historical periods fraught with difficulty, the novel contains a latent critique of the military government, of the dirty war and of Peronist economic policies prior to the coup of 1976. Additionally, I argue that Ema, la cautiva contains a political critique of the arguments for the capitalist system at its inception and that the novel can be read together with the work of Deleuze and Guattari to explore the development of capitalism and expose the apparent freedoms gained through it as allusive and as substitutes for a new type of subjection.     

The Roots of Terrorist Motivation: Shame,Rage, and Violence in The Brothers Karamazov

Abstract

Dostoevsky's most famous novel dealing with terrorism is his work The Demons. In this first-ever novel about terrorism, he carefully analyzed the various factors that contributed to the rise of modern terrorism. This article argues that Dostoevsky's subsequent novel, The Brothers Karamazov, is equally important in understanding the motivations of individual terrorists. The author argues that The Brothers Karamazov is fundamentally a novel about the rage and violence that are the byproducts of shame and humiliation. If modern counterterrorism policymakers, analysts, and operatives are serious about understanding the fundamental motivations of modern terrorists, it may benefit them to read (or reread) The Brothers Karazamov in this light.     

The Theory of Enchantment and the Enchantment of Theory: the Art of Alfred Gell

ABSTRACT Gell's Art and Agency that aimed to articulate the first anthropological theory of art has achieved a near‐cult status among the academic community. Departing from previous semiological and aesthetic approaches, this theory takes it that art is a form of instrumental action, the canonical efficacy of which lies in its power to function as a cognitive trap and to captivate the spectator's mind. In this article it is argued that Gell's theory is not as novel as it is claimed; that it fails to define the specific field of art; and that by excluding the aesthetic properties of art objects, it discards ethnographical data nonetheless necessary for understanding the agency of art in Melanesian local cultures. At a meta‐level, Gell assigned to his theory the same captivating purpose as he did to art, and this probably explains the seductive fascination that his work continues to exert.     

“They have the right to throw us out”: Élisée Reclus'New Universal Geography

Abstract: The anarchist and geographer Élisée Reclus (1830–1905) argued for the idea of universal brotherhood for all the peoples of the world in his encyclopaedic work the Nouvelle Géographie Universelle (NGU) (1876–1894). The nature of Reclus' argument and its representations of Europe, otherness and colonialism, however, are contested today, and it is unclear what insights it might offer to contemporary students of colonialism and post‐colonialism. In this paper I engage with two emblematic cases—British rule over India and French occupation of Algeria—as they are presented in the NGU, considering Reclus' analysis of imperialism and his novel critique of colonial power. In doing so I wish to demonstrate that far from being conventional, the NGU is a radical and interesting resource for those struggling to construct a critical discourse on Europe, otherness and colonialism.     

‘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.     

HISTORY AND THE MANIFEST IMAGE: HAYDEN WHITE AS A PHILOSOPHER OF HISTORY1

To claim that Hayden White has yet to be read seriously as a philosopher of history might seem false on the face of it. But do tropes and the rest provide any epistemic rationale for differing representations of historical events found in histories? As an explanation of White's influence on philosophy of history, such a proffered emphasis only generates a puzzle with regard to taking White seriously, and not an answer to the question of why his efforts should be worthy of any philosophical attention at all. For what makes his emphasis on narrative structure and its associated tropes of philosophical relevance? What, it may well be asked, did (or could) any theory that draws its categories from a stock provided by literary criticism contribute to explicating problems with regard to the warranting of claims about knowledge, explanation, or causation that represent those concerns that philosophy typically brings to this field? Robert Doran's anthologizing of previously uncollected pieces, ranging as they do over a literal half‐century of White's published work, offers an opportunity to identify explicitly those philosophical themes and arguments that regularly and prominently feature there. Moreover, White's essays in this volume demonstrate a credible knowledge of and interest in mainstream analytic philosophers of his era and also reveal White as deeply influenced by or well acquainted with other important philosophers of history. White thus invites a reading of his work as philosophy, and this volume presents the opportunity for accepting it as such.     

Urban law—II

This paper explores the political thought of Andrew Michael Ramsay with particular reference to his highly acclaimed book called A New Cyropaedia, or the Travels of Cyrus (1727). Dedicated to Prince Charles Edward Stuart, the Young Pretender, to whom he was tutor, this work has been hitherto viewed as a Jacobite imitation of the Telemachus, Son of Ulysses(1699) of his eminent teacher archbishop Fénelon of Cambrai. By tracing the dual legacy of the first Persian Emperor Cyrus in Western thought, I demonstrate that Ramsay was as much indebted to Jacques-Bénigne Bossuet's Discourse on Universal History (1681)as he was to Fénelon's political romance. Ramsay took advantage of Xenophon's silence about the eponymous hero's adolescent education in his Cyropaedia, or the Education of Cyrus (c.380B.C.), but he was equally inspired by the Book of Daniel, where the same Persian prince was eulogised as the liberator of the Jewish people from their captivity in Babylon. The main thrust of Ramsay's adaptation was not only to revamp the Humanist- cum-Christian theory and practice of virtuous kingship for a restored Jacobite regime, but on a more fundamental level, to tie in secular history with biblical history. In this respect, Ramsay's New Cyropaedia, or the Travels of Cyrus, was not just another Fénelonian political novel but more essentially a work of universal history. In addition to his Jacobite model of aristocratic constitutional monarchy, it was this Bossuetian motive for universal history, which was first propounded by the German reformer Philipp Melanchthon in his Chronicon Carionis (1532), that most decisively separated Ramsay from Henry St. John, Viscount Bolingbroke, author of another famous advice book for princes of the period, The Idea of a Patriot King (written in late 1738 for the education of Frederick Lewis, Prince of Wales, but officially published in 1749).     

Le Danger des liaisons: Censoring Laclos’s Liaisons dangereuses

When Pierre-Ambroise-François Choderlos de Laclos’s Liaisons dangereuses first appeared in late March 1782, it was an immediate succès de scandale. Laclos’s focus on his characters’ libertine psychology and his creation of a “monstrous” female villain, Merteuil, distinguished the novel from mainstream eighteenth-century French works. As an analysis of the novel’s reception demonstrates, Laclos’s suggestive portrayal of female sexuality and empowerment—and, specifically, of Merteuil—led first to the text’s association with dangerous works known as “mauvais livres” or “livres philosophiques” such as the Marquis de Sade’s Justine (1791) and the anonymous Histoire de Dom Bougre, Portier de Chartreux (1741), and later contributed to its classification as a pornographic work at the time the concept was invented in the early nineteenth century—and, ultimately, to its censorship in 1823. If the novel was devoid of explicitly sexual scenes, it nonetheless elicited such images in the minds of (at least some of) its readers and thereby caught the attention of the authorities. Les Liaisons dangereuses may be one of the most prominent historical cases of a book being banned not for what was depicted in its pages, but for the fantasies it inspired—providing a compelling twist to the adage that “pornography is in the eyes of the beholder,” or the mind of the reader.     

Behçet Kemal Çağlar's Kur’ân‐ı Kerîm'den İlhamlar (Inspirations from the Holy Qur’ān): A Kemalist's Personal,Poetic Response to the Qur’ān

Behçet Kemal Ça?lar, 1908–1969, is the author of a commentary of the Qur’ān, Kur’ân‐? Kerîm'den ?lhamlar (‘Inspirations from the Holy Qur’ān’), published in 1966. This work can be described as a poetic reflection on the Qur’ān. It does not adhere to rendering every line or verse, but instead insists on maintaining a rhythmic cadence and end‐rhyme. Although it resembles a translation in some ways, Ça?lar refuses to call his work a translation. This paper begins by introducing Ça?lar and his text, a brief history of Turkish translations of the Qur’ān, then Ça?lar's approach is contrasted with the aims of translators of the Qur’ān. Ça?lar's text is studied in more detail, providing a sample of the Turkish text and a translation of it into English, focusing on Ça?lar's reflection on Sūrat ?aha. Through this study, it becomes clear that as a result of his prioritizing the literary aspects of the Qur’ān in his reflection, Ça?lar's book has an advantage over literal translations of the Qur'an and it can be useful for Qur’ān translation. At the same time, Ça?lar's book is a reflection of a desire to develop a Turkish Islam—a manifestation of Islam that came from Turkey, that reflected its language and culture and that was intelligible to its people.     

St. Leon and the culture of the heart

This essay reads Godwin's second novel, St. Leon (1799), as an attempt to counter the asperity he expresses towards the domestic affections in his political philosophy of the 1790s. In St. Leon, Godwin seeks to square his newfound interest in the affections as a topic for fiction with his commitment to an anti-establishment political agenda. Though it is presented as a ‘eulogium’ to ‘the affections and charities of private life’, the narrative persistently undercuts the potential for the affections to stimulate readerly curiosity. The focus of the novel constantly shies away from the domestic scene, and instead propels the momentum forwards to the alchemical adventures that precipitate the disintegration of the very affections the novel purports to eulogise. The novel thus plays out Godwin's complicated desire to embrace, and yet simultaneously to deny, the importance of private emotions in the pursuit of political justice.     

William Stubbs,Parliament and the Medieval English Constitution

The name of William Stubbs will forever be associated with the birth of modern scholarship on the late medieval English parliament. At the core of his Constitutional History, a three‐volume work published in the 1870s, is a brilliant synthesis of the development of the early parliament. Since its publication, however, Stubbs's work has generated varied reactions, as scholars have positioned themselves at different points on a sliding scale of praise through to criticism; that is, between praising the Constitutional History for its depth of scholarship and pioneering methodologies, on the one hand, to criticising the work for its present‐minded approach and whiggish agenda, on the other. The aim of this discussion is to strike a balance between these two extremes. While it acknowledges the undoubted flaws of Stubbs's narrative, it also argues for a more nuanced and holistic approach to his work. It suggests that the taint of whiggism has for too long acted as a barrier to a true appreciation of the scholarly merit of the work, merit that extends beyond simply acknowledging its ambition, originality and legacy. The discussion considers some key areas of parliamentary development between c.1290 and c.1406 and notes the continued synergies that exist between what Stubbs wrote 140 years ago and current interpretations and understandings.     

Jāmī's Salāmān va Absāl: Political Statements and Mystical Advice Addressed to the Āq Qoyūnlū Court of Sultān Ya‘qūb (d. 896/1490)

This article explores Salāmān va Absāl, one of seven poems which comprise Jāmī's collection of long masnavīs, known collectively as the Haft aurang. The work, which gained some renown outside Iran due to the English version of Edward FitzGerald, has nevertheless received little attention in modern scholarship. The few investigations of Salāmān va Absāl, moreover, have dwelled on its narrative, which tells the story of the carnal attraction of a prince for his wet-nurse, and never situated the work in its historical context or examined its political content. In addition, the allegorical symbolism of the tale, especially its depiction of key stages of the Sufi path, such as the act of repentance, has not been discussed in terms of representing a work of mystical advice. With these concerns in mind, the present article discusses the possibility that the political elements in Salāmān va Absāl complement the advice it gives on becoming a Sufi. Seen from this perspective, it would appear that Salāmān va Absāl correlates the notion of the just ruler to the Sufi concept of the “Perfect Man” to the extent that Jāmī presents the Sufi-king as the ideal medieval Islamic ruler. By implication, the work advises its royal patron, Sultān Ya‘qūb, to repent and embark upon the Sufi path, doing so, Jāmī intimates, would lead Ya‘qūb to realize his rank as God's “true” vicegerent.     

When Nazi dreams come true: The third Reich's internal struggle over the future of Europe after a German victory

In the present article it is argued that Pieter de la Court's Political Maxims of the State of Holland presented a remarkably consistent grand strategy for Holland in relation to its Dutch allies and the European powers. I present an outline of this strategy, which was built around the accomplishment and defence of commercial goals; I sketch a historical context that takes into account the general historical shift from tribute-taking agrarian societies towards commercial wealth-generating polities, and also the violent contemporary military and ideological background against which De la Court's strategy stands out; I argue that his strategy can be understood by his use of three basic game theoretic concepts (prisoner's dilemma, assurance game and free-riding); and I stress the distinctive character of De la Court's work, by comparing the practical and strategic use of these concepts in the Maxims with the function of the same concepts in the philosophical contract theories of Thomas Hobbes and Benedict de Spinoza.     

The relevance of Morris's utopia

This paper considers the reputation of William Morris's News From Nowhere and its evaluation as a utopia. It argues that there is a discrepancy between scholarly estimations of the book's importance and its treatment as a utopia relevant to socialism. Whilst scholars have for many years almost unanimously praised News From Nowhere as Morris's crowning achievement, most have also attempted to argue that Morris did not intend his work to be used as a serious model for socialism. After reviewing some of the secondary literature and distinguishing between a variety of different interpretations of Morris's work, I suggest that the relevance of News From Nowhere might be assessed by the standards which Morris applied to Thomas More's Utopia. Considering Morris's work in this framework of utopianism, I argue that the relevance of Morris's utopia lies in what Norman Geras has called its “maximum” vision.     

Nature in the Old Portuguese Lyric

The present article focuses on the role of paratextual elements—epigram, marginal notes, and musical partitures—in Juan Benet's Un viaje de invierno (1976), with special emphasis on their role in the reading process. Gérard Genette's work on paratexts will serve as a helpful entry to my analysis of the Spaniard's novel. When conceived as the components of a liminal space that mediates text and off-text, Benet's paratexts serve to explore and enrich the zona de sombras inherent to his narrative vision. This slippage situates readers on the thresholds of interpretation and underscores the indeterminate quality of aesthetic (re-)creation. The interconnected, and often contentious, “zones” of the work engender multiple readings, vitiate chronology, and reinforce several recurring themes such as alienation, death, and rebirth. The novel brings to the fore the reader's role in negotiating the highly indeterminant components of the text and the paratext. Through this process, Benet eschews the tenets of casticismo and highlights the role of enigma central to his literary theory and praxis.     

Cropsey on Plato and the Unity of Philosophy

Abstract

Cropsey's book, Plato's World, contains his longest and most sustained reflections on a set of Platonic dialogues, but it is not the first work he published on Plato or the last he intended to write. His last collection of essays, On Humanity's Intensive Introspection, shows that in his writings on Plato Cropsey was attempting to answer a broader question: What is philosophy?