Territories of Struggle: Social Centres in Northern Italy Opposing Mega‐Events

The article takes into consideration the spatialised action of self‐managed Social Centres in Northern Italy over the last 20 years. Considering Genoa, Turin and Milan, we outline the passage from the Fordist era to the post‐industrial cities reconversion, which gave the space—both physical and political—for the emergence of Social Centres. The changes that occurred in the three cities in the following years introduced new features in urban space configuration and organisation. In this frame, we focus on three case studies that serve the purpose of illustrating the role of Social Centres contesting unfair space transformations: Genoa's Expo Colombiane in 1992, Turin's Winter Olympic Games in 2006 and Milan's Expo in 2015. The opposition to these “mega‐events” allows us to analyse the changes related to the forms of conflict put into practice by urban social movements throughout time, and the learning process they underwent.     

“.. . And Jill came tumbling after”

Milan Stuchlik. Life on a Half Share: Mechanisms of Social Recruitment among the Mapuche of Southern Chile. New York: St. Martin's Press, 1976. 222 pp. Maps, illustrations, tables, figures, and bibliography. $25.00.     

Habsburg Italy in the age of reform

This essay surveys the main reforms carried out by the Habsburg governments in Lombardy and Tuscany from the 1730s to around 1790 in the light of recent historical literature. Venturi's biographical approach to the theme is discussed in the first part of the essay, which then sets out to compare reforming activities in the two states in the fields of the administration of justice, ecclesiastical policy, and public finance. The drive towards centralization and uniformity is identified as the main aspect of the Milan reform movement, to the liberal and humanitarian tendencies of Peter Leopold's government in Tuscany.     

From the Absent Mother to the Oppressive Mother to the New Mother in Lucía Etxebarria's Un milagro en equilibrio

This article examines the transformation of maternal and paternal images that occurs in Lucía Etxebarria's 2004 novel Un milagro en equilibrio. Sandra Schumm argues that the novel engages and transforms the postwar archetype of the “absent mother.” Using Schumm's study as a springboard, my article takes this argument further by showing how Etxebarria rewrites a second maternal archetype, the “oppressive mother,” a figure that symbolizes patriarchal values and the Francoist regime in many postwar narratives by women. At first, protagonist Eva Agulló characterizes her mother, Eva Benayas, as one of these oppressive mothers, a characterization that Etxebarria has also employed in her two most famous novels to date, Amor curiosidad, prozac y dudas and Beatriz y los cuerpos celestes. Un milagro en equilibrio marks a change in Etxebarria's treatment of mothers because, as the novel progresses, Agulló questions and then complicates this portrayal. The Benayas that emerges is a complex woman influenced by personal, familial, and national conflicts. Conversely, Agulló's father comes to assume more culpability for family abuse and dysfunction as Agulló associates him with Francoism. This reassessment of maternal and paternal roles demonstrates Etxebarria's own evolution in maternal representations as it dialogues with and recreates previous works such as Ana María Moix's 1969 novel Julia and Ana María Matute's 1959 Primera memoria and 1969 La trampa—three foundational novels that also employ tyrannical maternal figures. In rejecting the oppressive mother role she had assigned to her mother, Agulló rewrites a long history of maternal figures associated with the Francoist regime in many postwar narratives by women.     

El pulso de Centro América a través de la novela

This article offers a new reading of Miguel de Unamuno's San Manuel Bueno, mártir. Critics have traditionally focused on the question of the protagonist's supposed lack of faith and sought to relate San Manuel's doubts in the novel to Unamuno's own religious views. Although this novel is very much concerned with religion, eschatology, and social issues, it is also an extremely sophisticated literary narration wherein the use of irony and ambiguity remains perhaps unequalled in Spanish contemporary literature. By considering the principles of linguistic pragmatics, this article shows that in her account of San Manuel's life, the female narrator tells the dramatic story of the love she and San Manuel felt for each other. By means of a complex use of ambiguity, Unamuno writes a novel that can be read in two different ways: the religious novel and the love novel.     

Contesting the capital of culture in Antonio Muñoz Molina's Los misterios de Madrid

This essay examines Antonio Muñoz Molina´s use of the Gothic mode and the misterio genre to destabilize Madrid's image as a politicized symbol of cultural modernity in his 1992 novel Los misterios de Madrid. The novel was a return to the form and function of the nineteenth-century urban mystery novel. The year 1992 was one of celebrations throughout Spain, and Madrid was designated the 1992 European Capital of Culture (ECOC). The ECOC title was meant to signal Spain's graduation to democratic modernity and its new identity as a European capital. Madrid of Muñoz Molina contests this politicization of Madrid´s identity by gothicizing the capital. This Madrid is enigmatic and threatening, and it is the home of the conspiracies that undermine the capital's new image. In a year that celebrated Madrid's entree into European modernity, Muñoz Molina uses nineteenth-century literary modes to question Madrid's success story.     

Ardent Service: Female Eroticism and New Life Ethics in Gertrude Dix's The Image Breakers (1900)

Gertrude Dix's socialist-feminist novel, The Image Breakers (1895) has perplexed twentieth-century critics by its brief, short-circuited representation of homoerotic affection between the two female protagonists. In answer, this essay roots the women's relationship in the wider social, historical context of New Life politics and ethics in the 1890s. Members of the Fellowship of the New Life heralded not merely a variety of alternative lifestyles including vegetarianism and co-education, but also extensive discussion about sexual mindfulness and generosity. The charismatic seer and inspiration for the FNL, James Hinton, preached that utopia could be achieved by practicing an erotically-charged altruism. If, as Sharon Marcus has claimed, such female mutual devotion was common and perceived as normative, it was particularly affirmed by ethical-socialist culture. In the novel, Leslie Ardent's loving service to Rosalind is fuelled by her political mission and desire for self-realization. Through this female intimacy, Dix evokes the initial phase of New Life socialism as Hinton and his followers had espoused it. By contrast, the women's heterosexual relationships are more troubling, as male comrades pressure them respectively into heterosexual marriage and free love. In order to discredit heterosexual free love, Dix paints its proponent as a disturbed anarchist, rather than admit that historically some in ethical-socialist circles had advocated polyamoury. Nor does she acknowledge the philosophical convergences between collective anarchism and ethical socialism at the fin de siècle, though she herself was engaged in radical communities. Through her indictment of free love, Dix punctures the utopian vision of a pure, selfless, erotic affection flowing between individuals; figuratively, the novel re-enacts the collapse of Hinton's own reputation from seer to seducer. Echoing scenarios by other female ethical-socialist writers, the early intimacy between Rosalind and Leslie then serves the function of nostalgia, symbolizing a now-lost stage of New Life optimism and association.     

Kypros,Tourkia kai ellinismos

Gianrinaldo Carli was a central figure in the origin of the Milanese Enlightenment of the late eighteenth century. Carli's political career as well as his works connected him both to the mid-century reforms by Pompeo Neri and to the times of Beccaria and the Verri brothers—the heyday of Lombard intellectual life in Europe. Not originally from Lombardy, but from the Venetian periphery, Carli became an erudite scholar of witchcraft and magic and an influential functionary of the Habsburg administration in Milan. He remains most famous for his works on money and his contributions to the journal Il Caffè. Most of his later political writings, which were widely circulated in Italy following the American Revolution, originated in debates with Pietro Verri over the nature of Natural Law, of the Social Contract, and the relationship between patriotism and cosmopolitanism. They illustrate key aspects of Lombard political culture of the 1780s: a culture that was critical of Rousseau, trustful of the reformist experience and supportive of Enlightened Absolutism. Within this context, Carli's works have traditionally been difficult to place.     

Living With the Other's Pain: The Ethical Implications of Mitsein in Simone de Beauvoir's Le sang des autres

This article establishes that the suffering of the other represents a serious philosophical and ethical problem in Beauvoir's first post–World War II novel. In fact, the other's suffering poses such a complex problem in Le sang des autres particularly because Beauvoir depicts her characters’ world as a kind of Mitsein, which is Heidegger's word to describe how our lives necessarily intertwine with and envelop the lives of others while still allowing for the existential experience of separation. In the novel, the main characters’ potential responses to the other's suffering—quietism, indifference, charity, and empathy—fail according to the novel's existentialist ethical framework because of the ways these responses deny the fundamental ambiguity of Beauvoirian Mitsein. Only in accepting separation and connection as codependent ethical values do the characters find an ethically palatable response to the other's suffering at the end of the novel.     

The elusive ‘je’: Language and female subjectivity in Simone de Beauvoir's Les Belles Images

The most striking feature of the narrative of Simone de Beauvoir's novel Les Belles Images (1966) is the constant shift between the third‐person pronoun ‘elle’ (or ‘Laurence') and the first‐person pronoun ‘je’. The pattern produced by this shift in narrative voice within the text has important implications for the construction of female subjectivity in the narrative, primarily in relation to its central character, Laurence. This article examines the nature of Laurence's relationship with language using arguments offered by the feminist psychoanalyst Luce Irigaray pertaining to the relationship of exclusion binding women to language in patriarchal culture. My reading of the novel examines how far Laurence's problematic relationship with language might be read in terms of a quest to articulate her ‘je’ and make her ‘marginal’ voice heard. Further, it engages with, but ultimately problematises, Toril Moi's notion of an ‘authorial’ reading at work in Beauvoir's fictional texts.     

Mémoire et histoire dans un roman graphique en six volumes: double jeu,infotainment, obsession française?

In October 2012 the sixth and last volume of the graphic novel Il était une fois en France [Once upon a time in France] was released. The six volumes, published at the rate of one per year since September 2007, cover the 60 years of the Jewish protagonist's life. It spans the time from Joseph Joanovici's birth in Kechinev [today's Moldavia] in 1905 to his death, alone and ruined, in Paris in 1965, and covers his four years of collaboration and resistance in Occupied France that saw him become a multi-millionnaire. The series is acclaimed by the public and critics alike. My article demonstrates that this graphic novel cannot belong to what Henry Rousso, in his book Le Syndrome de Vichy, called ‘the French Obsession’, but rather, its narrative qualities, which emphasize the protagonist's ambivalence by using techniques similar to those used in movies like Once upon a time in America and Miller's crossing [both of which are cited by the series' authors in several interviews and are obvious in the visual and narrative style of the series], place this graphic novel in what I see as a new period of infotainment that is closer to the new generation of readers who are immersed in globalization and the spectacularization of history.     

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.     

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.     

Ignazio Silone and the Fascist political police

Secondino Tranquilli (alias Ignazio Silone) was one of the founders of the Italian Communist Party (PCI) in January 1921. Esteemed by Moscow and the Comintern, Silone was given increasingly important functions in the clandestine PCI organization in the 1920s and was appointed to its Political Office. His political career, which ended with his expulsion from the party in summer 1931, was frequently recounted by Silone himself who, as a famous writer, felt obliged to come to terms with his political past. Recent studies by Mauro Canali and Dario Biocca of Silone's membership of the PCI have shown a rather different truth. The documents they have published show that ever since he was in the young socialist movement Silone was collaborating first with the Italian police and then with the Fascist police. Throughout, he was corresponding with a high-ranking official in the Italian police, Guido Bellone. Their relationship entered into a crisis that ended Silone's collaboration when in April 1928, following the explosion of a bomb in Milan that caused some twenty deaths, his brother Romolo Tranquilli was arrested and sentenced to twelve years' imprisonment. This clearly weighed on Silone's conscience and was probably the original cause of his eventual abondonment of politics and his own 'double' role, to become awriter instead. Thispainful journey involved frequent treatment in specialist clinics where Silone received intensive psychoanalytical treatment.     

Las Casas and His Amerindian Nurse: Tropes of Lactation in the French Colonial Imaginary (c.1770–1815)

This article investigates Marmontel's reworking of the ancient legend of Pero and Cimone in his bestselling novel Les Incas (1777). According to an anecdote in Valerius Maximus's Memorable Doings and Sayings (c.30 CE), Pero saves her father, condemned to death by starvation, by breastfeeding him in prison. In Les Incas, it is Bartolomé de las Casas who is being cured from a fatal illness through the milk of an Amerindian princess. Jean‐Michel Moreau the Younger illustrated this lactation scene in the first edition of Marmontel's novel; his engraving inspired Louis Hersent to render the topic in oil three decades later. My article explores the ways in which French Enlightenment writers and artists employed lactation imagery to propose a utopian reform of colonial relations – the voluntary offering of America's riches to benevolent white patriarchs – at a time when the nature of government authority, paternity, maternity, race and kinship were being redefined. In 1808, Hersent's painting of ‘Las Casas Cured by Savages’ appears curiously anachronistic in the context of contemporary novels and paintings that portray colonial relationships as inundated by death and bloodshed. In Chateaubriand's Atala (1801), lactation imagery is employed to signify white men's necrophilic desire, genocide and loss.     

The Disappearing Body

Although Chile was the first country in Latin America to report cases of anorexia nervosa in 1982, the issue had already gained notoriety during the 1970s, the decade when North American policies and the United States capitalist economy began to infiltrate Chilean society. The category of eating disorders, which may be manifested in a variety of diseases (such as anorexia, bulimia, and compulsory overeating), has only recently become the focus of Chilean literature and, in turn, literary criticism, which has primarily focused on the metaphorical interpretations of these illnesses. One novel that treats the multifaceted manifestations of eating disorders, not merely the metaphorical representations, is Marcela Serrano's Antigua vida mía (1995). The societal demands of unhealthy body images have been the concern of feminist criticism such as Susan Bordo's Unbearable Weight: Feminism, Western Culture, and the Body (1993). In Marcela Serrano's novel the treatment of eating disorders reflects the evolving expectations on women in contemporary Chilean culture. Through the application of Bordo's analysis of the cultural pressures and significances of body expectations, this article delves into the various manifestations of unhealthy eating practices in Serrano's Antigua vida mía and reveals the self-destructive and self-isolating consequences of an often-occulted illness while also recognizing that by treating body image and illness, the author engages in a cultural discourse regarding the expectations and repercussions of cultural demands.     

Multiple Partial Couplings in the Multiple Streams Framework: The Case of Extreme Weather and Climate Change Adaptation

In this paper, I draw insights from a detailed case study of adaptation policymaking to develop a novel interpretation of John Kingdon's original work that shows how policy entrepreneurs can couple the problem, policy, and political streams through multiple partial couplings. Researchers and policymakers often assume that extreme weather opens a window to adopt policies aimed at adapting to long‐term climate change. However, empirical evidence shows that crises can redirect attention to urgent, short‐term goals. Using the Multiple Streams lens in an abductive case study, I investigate how these competing forces interact to influence the policy process. By unpacking Kingdon's familiar “streams” metaphor and elaborating his overlooked concept of partial couplings, I illustrate how the policy entrepreneurs' strategy of issue linking explains Australia's adoption of the 2007 Water Act, one of the world's first major adaptation policies, at the height of its decade‐long Millennium Drought. Employing this novel theoretical understanding offers new insights into this important case. I conclude by developing tentative hypotheses for testing in future studies.     

The Serious Century and Hedayat's Grim Laughter

Perhaps inspired, more than anything else, by The Blind Owl's famous opening lines, the reception of the novel has so far been dominated by a dark view of the narrative. However, subtle inter-textual links and formal patterns in the narrative could help to read a radically subversive laughter in it which targets the novel's predecessors and readers equally and concurrently. This article engages the aesthetic qualities of the novel and attempts to account for and emphasize the literariness of the text in interpretation. By singling out a few inter-textual links and elaborating upon them in detail, the narrative's parodic laughter, its significance and the way it can change our appreciation of the novel are discussed.     

The Theatre of Navalism in Germany and Britain

Abstract

TWENTY YEARS AGO, the late Victorian and Edwardian navy was the preserve of ArthurJ. Marder. Since then, scholars includingJon T. Sumida, Nicholas A. Lambert, Andrew Lambert, Andrew Gordon, Jolm Brooks, Geoffrey Till, and Charles H. Fairbanks, Jr. have revised our understanding of Bridsh naval policy in the run-up to the First World War and the navy's performance during it. t The flowering of naval history in file English language has not been restricted to British history. For fifteen years, the standard work on German naval policy under the empire had been published by Jonathan Steinberg in 1965 .2 Beginning with Holger Herwig, this field, too, was transformed by, among others, Ivo Lambi, Gary Weir, Lawrence Sondhaus, and Rolf Hobson? Works on other pre-First World War navies include Sondhaus and Milan Vego on the Austro-Hungarian navy; 4 George Baer, Peter Karsten, Ronald Spector, Mark Shulman, and Robert O'Connell on the US navy; 1 Charles Schencking, David Evans, mid Mark Peatde on the Japanese navy; 2 and Paul Halpern on the Mediterranean theatre.     

The ethico-politics of homo-ness: Beckett's How It Is and Casement's Black Diaries

In recent years, Beckett studies has taken an ‘ethical turn’ as critics have given increased attention to the status of the Other and otherness in the writer's oeuvre. How It Is, a key text for these critics, was written as Beckett was reading the newly published Black Diaries of Roger Casement, a volume that contains homoerotic content long considered scandalous for the Irish republican icon and yet offers a remarkable vision of social relations structured around sameness or what Leo Bersani calls ‘homo-ness’. Reading Beckett's novel alongside Casement's diaries reveals the significance of How It Is for thinking an ethico-politics that depends neither on the ideological foundations of the nation-state nor on critical perspectives that emphasise the primacy of difference, but rather on a fundamental reorientation of sociality. In this regard, Beckett's anti-redemptive narrative may be considered a work of penetrating utopian writing, which nonetheless reminds us of the hazards of utopian thought.