1989: THE CHRONOPOLITICS OF REVOLUTION

A failed effort at “reform from above” or a dramatic reassertion of “people power”? Almost thirty-five years on, studies of the Revolutions of 1989 continue to be framed by these two polarities. However, this historiographical focus has meant that scholars have often overlooked the actual content and character of protest itself. This article argues that one way of reinjecting agency and ideas back into our historical understanding of 1989 is through examining the chronopolitics of revolution: that is to say, by addressing how the control and interpretation of time became a political battlefield, a site of contention and negotiation, between Communist regimes, on the one hand, and political activists and society, on the other. Investigating events in the German Democratic Republic and Czechoslovakia, the article contains two central claims: first, that an interrogation of the concept of “chronopolitics” can provide a new angle by which to grasp the revolutionary character of “1989” and the democratic transformations that resulted and, second, by way of inversion, that a study of the temporal experiences across 1989 and the early 1990s can in turn shed light on the analytical value of “chronopolitics” more generally.     

Chardin et sonPhilosophe

Did “the old character, so intelligent, so crazy”, evoked by Marcel Proust through Chardin’s self-portraits, depict himself in the projective mask of the wise man, in one of his most famous paintings, thePhilosopher of the Louvre? As the master of the still life wanted to rise in the hierarchy of the Academic ranks, he probably tried, in this early work, to make up for “this lack of training” in “the humanities”, through the representation of a character in keeping with current tastes, of a modern philosopher. A Philosopher, A Chemist in his laboratory, A Glass-Blower, or A Philosopher busy reading: is the painting of the Louvre (1734) an emblem? Our hypothesis, that this painting represents a chemist philosopher, not a quack or an alchemist, is constructed by comparing the painting with the lampoon entitledThe Philosopher, circulated, according to Voltaire, in the 1730s.     

Contesting the Divided City: Arts of Resistance in Skopje

This paper examines issues of power and resistance in “divided cities”. Basing my analysis on fieldwork I carried out in Skopje, Macedonia, I look at how urban space may be constructed and used by hegemonic groups as a means of asserting their power and how, in turn, the city may be a place of resistance where power is contested and public space reappropriated. Drawing on Lefebvre's perspective on the production of space, I compare the conceived city to the lived city and examine how urban inhabitants may resist the division of the city and challenge hegemonic representations. I also draw on Debord's psychogeography to define an artistic, active and participatory approach to urban space through which the inhabitants may re‐conquer their right to the œuvre and to the city. I argue that the city as a lived environment may offer narratives other than division and that there are alternatives to the divided city.     

The canopic jars of Rameses II: real use revealed by molecular study of organic residues

Four blue-glazed faience jars, on exhibition in the Louvre Museum, are referred to as the canopic jars of Rameses II. Their recent typological re-examination rendered this original assignment questionable. In order to clearly determine their use, a study of two successive organic residues from the canopic jars, using molecular biomarkers analysed by GC-MS and LC-MS and absolute dating by ¹⁴C, was initiated. The results revealed that these two materials were not contemporary to the reign of Rameses II. The first one, scraped from the interior face of one jar, was identified as an unguent made of coniferous oil and animal fat and dated from the Third Intermediate Period. The second one, originally stored with glued linen inside one jar, is likely an embalming substance, made of pure vegetable resin (Pistacia) and dated from the Ptolemaic Period. These results clarify a controversy which has been lasting over a century. The famous blue-glazed faience jars are not the canopic jars of Rameses II but are confirmed as situlae which were reused at least two times: first to store unguents during the Intermediate Period and later to store embalming packages of an unknown person during the Ptolemaic period.