Immigration and Refugee Crises in Fourth-Century Greece: An Athenian Perspective

Abstract

The fourth-century B.C. was a period during which a large number of Greek cities were affected by civil wars, military conquests, and destruction, with the displacement of large numbers of men, women and children as a result. This has implications for the modern debate on Athenian attitudes to immigration, which normally focuses on just two groups of free non-citizens: adult, able-bodied men who moved to Athens voluntarily to take advantage of the city’s economic opportunities and (more recently) on the free non-citizen population who had come to Athens as slaves and who stayed on after their manumission. This article argues that refugees were likely to have constituted a considerable component of the migration to Athens during certain troubled periods in the course of the fourth century. This means that the size of Athens’s immigrant population was likely to have fluctuated considerably, that many of the refugees would have been destitute, that women and children (sometimes unaccompanied by adult male relatives) may have made up an even greater proportion of the non-citizen population than normally assumed, and, thus, that a considerable number of these immigrants would not have been able to contribute substantially to Athens’s grain trade or military. The implications of this for our assessment of the Athenian motives for admitting groups of refugees are discussed, and it is argued that the requirement that all male and all unaccompanied female immigrants had to find an Athenian sponsor and pay a special metic tax may have constituted a certain level of control over immigrant numbers.     

Space,time and history in the Polish People’s Republic: the trilogy Sami swoi,Nie ma mocnych,Kochaj albo rzuć

Abstract

The article discusses the meanings of popular culture, authenticity and history in People’s Republic of Poland. As an example it uses a popular film trilogy. The trilogy Sami swoi, Nie ma mocnych and Kochaj albo rzu? (‘All friends here’, ‘Take it easy’ and ‘Love or leave me’) was shown in Polish cinemas between 1967 and 1977. The reviews were written just after the premières. The article uses the concepts of time and space elaborated by Mikhail Bakhtin and Doreen Massey to analyze the different chronotopes of the films. It analyses both the films and the reviews as strategies of creating authenticity and creating cultural meanings: the meaning of history and the meanings of rurality. I will show how history and present, memory and society are interwoven in the light of popular production. In addition, I will emphasize the diverse interpretation possibilities resulting from this micro-historical view and the transnational critique of modernism highlighting the small and local which emerged throughout Europe in the 1970s.     

Moshe Dayan: “Israel’s No. 1 Hero” (in America)

This study explores how and why Moshe Dayan became the symbol of the modern Israeli hero in American culture. Through an examination of variegated evidence it is possible to discern patterns that illustrate the ways Dayan’s image crystallized, first, in the American Jewish arena, and then more broadly, in wider American public consciousness. With his trademark eye patch and irreverent personal style, Dayan, who more than any Israeli military-political figure captured the imagination of American Jewry, became not only the most recognizable sabra on the American scene but also a chief exemplar of the “new Jew.” Beginning with the War of Independence (1947–49) until roughly the Six-Day War (1967), Dayan symbolized Israel’s youthful, virile, and savvy hero struggling to build a home against all odds. From the Yom Kippur War (1973) to the Camp David Accords (1978) and his death, he came to exemplify a generation of Israelis who wrestled with the Jewish state’s existential geopolitical challenges. Investigating Dayan’s public persona enhances our understanding of his impact on the American arena – the man and the myth – and the ideational linkages so critical to the developing bond between the United States and Israel in the second half of the twentieth century.     

UNDISCIPLINED AND PUNISHED

The title of Robert Doran's collection of essays on Hayden White proves provocative and evocative. Provocative because it claims to mark a move within philosophy that pivots on the work of Hayden White, and this despite the fact that White himself explicitly resists inclusion within such a classification, that is, as a philosopher of history. Indeed, another contributor, Arthur Danto, had as of 1995 declared passé the whole subfield of philosophy of history. Doran situates White, then, in a niche White rejects and in any case one largely abandoned by those who do academic philosophy. Thus a question that this title evokes concerns why—whatever philosophy of history happens to be before Hayden White—after him it becomes a topic of philosophical lack of interest, one pursued almost exclusively by those not associated with departments of philosophy. Given White's professional travails, his acquaintance with another undisciplined academic, Richard Rorty, and his long‐standing friendship with preeminent philosophers of history such as Louis Mink, one might well assume that White eschews Doran's disciplinary labeling for a reason. In this regard, reframing him as this book's title does invites a worry that, if only unwittingly, the book elides discussion of why certain positions excite not merely disagreement but prompt rather a type of professional shunning. In failing to confront White's reception (or rather lack thereof) by historians and his position (or rather lack thereof) within philosophy, Doran passes over in silence a highly salient aspect of White's work.     

Uneven Urbanisation: Connecting Flows of Water to Flows of Labour and Capital Through Jakarta's Flood Infrastructure

This article analyses processes of uneven urbanisation by looking at flood infrastructure. Combining the conceptual frameworks of uneven development with the political ecology of urbanisation, we use flood infrastructure as a methodological device to trace the processes through which unevenness occurs within, but also far beyond, the city of Jakarta, Indonesia. We do this to show how the development of flood infrastructure in Jakarta is shaped by the logic of capitalism through mutually implicated tendencies of socionatural differentiation and equalisation. These processes render waters, resources and labour as similar across places and times to produce different spaces for different populations, within and beyond city boundaries. This theorisation reveals how the urban inequalities (re)produced by flood infrastructure are intimately linked to inequalities (re)produced through the urbanisation of the non‐city.     

Hybrids of the Romantic: Frankenstein,Olimpia, and Artificial Life

Hybride der Romantik: Frankenstein, Olimpia und das künstliche Leben . Dieser Beitrag untersucht Vorstellungen über die Möglichkeit der Erzeugung künstlicher Lebewesen in der Zeit der Romantik und die damit verbundenen Ängste am Beispiel zweier fiktionaler Texte: Mary Shelleys Frankenstein und Ernst Theodor Amadeus Hoffmanns Sandmann. Dr. Franksteins Monster und Dr. Spalanzanis Automat verkörpern – auf unterschiedliche Weise – die Möglichkeit einer Wendung wissenschaftlicher Produkte und insbesondere künstlicher Hybride ins Monströse. Ihre Geschichten thematisieren das Grauen, das vom drohenden Kontrollverlust ausgeht und als der modernen Wissenschaft innewohnende Gefahr selbst nach der Zerstörung der monströsen Kreaturen bestehen bleibt. Der Begriff des Unheimlichen, von Ernst Jentsch und Sigmund Freud mit Bezug auf Hoffmanns Sandmann formuliert und 1970 von dem japanischen Robotiker Masahiro Mori als Phänomen „des unheimlichen Tals“ (Uncanny Valley) weiterentwickelt, erlaubt weitere Einblicke in die Frage nach künstlichen Lebewesen und ihre Interaktion mit Menschen. Summary: Hybrids of the Romantic: Frankenstein, Olimpia, and Artificial Life . This essay analyzes fantasies and fears related to the possible creation of artificial humans in two influential pieces of Romantic literature, namely E.T.A. Hoffmann's Der Sandmann and Mary Shelley's Frankenstein. Both the automaton Olimpia and Dr. Frankenstein's monster are hybrid creatures. These dystopian figures represent the Romantic fear of the loss of control over the outcome of human endeavour, they symbolize the dangers immanent in modern science and technology. As hybrids, Olimpia and Frankenstein's monster are capable of breaking apparently unpenetrable boundaries, such as those between human and non-human, and between life and death. As such, these creatures become “unheimlich” (uncanny), a critical term developed by Ernst Jentsch and Sigmund Freud, who directly referred to Hoffmann's Sandman. The term “uncanny” was further developed by the Japanese roboticist Masahiro Mori in the 1970s. Mori's investigation of human responses to androids (“Uncanny Valley”), shows the persistence of doubts and fears surrounding artificial humans far beyond the Romantic times, and opens new questions related to the issues of creation, reproduction, hybrids, hubris and gender.