Theorising the anti-nation: George Woodcock,anarchism, and Canadian nationalism

George Woodcock was anarchism's most influential historian and an important public intellectual in Canada. This article focuses on his engagement with Canadian nationalism in the 1960s and 1970s. It argues that a ‘philosophical anarchism’ was at the heart of his intellectual project, and this informed his reading of Canadian cultural development and subsequent political challenge to Pierre Elliott Trudeau's civic nationalism. Woodcock decoupled the concepts of ‘nation’ and ‘state’ in order to develop a radically different model for Canada—the ‘anti-nation’—defined by regionalism, federalism and direct democracy. His reading of Canada's cultural history supporting this position was therefore part of a strategy to repurpose nationalist rhetoric towards anti-state ends.     

The art of nationalism: Artists' perspectives on the Latvian Centenary film programme

In the aftermath of several decades of neoliberalism in Eastern Europe, the social fabric of post-socialist societies is frayed. In this context, nationalist cultural policies and everyday displays of national belonging have emerged as key instruments of social solidarity. There has recently been a drive of state initiatives in Latvia in the field of cultural policy aimed at strengthening national identity. In this paper, we focus our attention on one particular cultural policy initiative, Latvian Films for Latvian Centenary. Drawing on qualitative interviews with 16 film directors who participated in the Centenary film programme, the paper explores how artists and cultural operators involved in this programme are mobilised as national(ist) subjects and how they see their work within such a framework. We argue that nationalist cultural policy can be successfully implemented because the artists, themselves formed as responsible political and moral subjects in the tradition of Latvian cultural nationalism, share a regard for culture and the arts as a resource for sustaining the political statehood and the national community. However, the artists also recognise the limitations of their work as a source of social cohesion and solidarity in a society that is ethnically divided.     

THERMOLUMINESCENT DATING OF COLOMBIAN POTTERY IN THE YOTOCO STYLE

Two contexts from the Colombian sites, Yotoco Ferry and Moralba, had been linked by archaeological similarities in pottery style, and dated by association with ware from other sites at circaa.d. 1000. However, radiocarbon dating of those contexts set Moralba at circa 800 b.c. , some 2000 yr older than Yotoco Ferry. Thermoluminescent dating of pottery from Yotoco Ferry dated it at circaa.d. 900, and pottery from Moralba was dated at circaa.d. 870. In addition a metal-smelting pottery crucible, thought to be prehispanic, was studied by thermoluminescence and dated, on the contrary, at less than 120 yr old.     

Reviews of books

Historical Archaeology -