Mourning the Un-mournable? Political Theology Between Refugees and Religion

Since the arrival, or the attempted arrival, of millions of refugees in Europe, the performances of the Center for Political Beauty – a Berlin-based collective of artists and activists – have had a huge impact on public and political debates about Germany's migration policies. In this paper, I analyze the performance “The Dead Are Coming” in which the artists buried refugees who drowned in their attempt to enter the European Union. Drawing on Judith Butler's political philosophy of performativity, I assess “The Dead Are Coming” as a “doing” rather than a “describing” of dignity. I argue that the integration of God into the practices of mourning enables both the activists and the audience to resist the differential distribution of dignity in Europe's migration policy. Ultimately, I advocate a re-thinking of political theology in which art learns from theology and theology learns from art in order to promote dignity under de-dignifying conditions.     

WITH OR AGAINST HAYDEN WHITE? REFLECTIONS ON THEORY OF HISTORY AND SUBJECT FORMATION

This article reflects on Hayden White's understanding of the subject and explores how best to move forward discussions in theory of history after his arguments about narrativity. To do so, I reconsider his arguments in light of more recent feminist and queer theorizations. Through a reconstruction of the current international new wave of feminism and LGBTQ+ activism as a rich and complex social movement that involves a narration of its own (practical) past, I will recontextualize and revaluate White's insight from the perspective of Judith Butler's theory of subject formation. The argument will unfold in four parts. First, I will recall White's ironic and existential stance on language and narrativity in the representation of reality and in relation to social beliefs. Second, I will again raise the question of the value of narrativity, as framed by White, in the context of the publication of a recent feminist manifesto. It is here that another issue will emerge as crucial: the relationship between the limits of linguistic self-consciousness and the question of the subject. In the third part, my argument will take a partial turn “against White” and toward Butler's subject formation theory. My claim will be that there is a residue of the belief in the sovereign individual in White's insistence on self-consciousness. However, I will also show that his suspicion regarding the psychological impulse toward narrative closure can be re-elaborated as the challenge Butler is facing with their theory of subject formation: that of critically resisting the belief in our being coherent and self-sufficient individuals. In the fourth part, I will present Butler's refiguration of the thesis of the subject's opacity in terms of the primary relationality that binds human beings to one another, and I will offer a new understanding of the individual, norms, agency, infancy, and ethics. Finally, I will conclude that we are bodies in history and that theory of history can find a promising line of research through this conception of the subject, a conception that reframes how we understand the intimate links between political consciousness, historicity, and embodiment. I also claim that this line of research constitutes an ethics for our historical undoing.     

Assemblies,Coalitions, and Conflicts Over Free Speech: From “Trespass” to “Encroachment” in Urban Space at Hyde Park,London, 1861–1962

By drawing, among others, on the ideas of the Bakhtin Circle and Judith Butler, this paper explores spatial struggles over the right to free speech at Hyde Park, London, 1861–1962. From the 1860s to the early 20^th century, the state gradually constructed a “monologic” discourse about an ideal-typical “indecent” speaker who would “trespass” on Hyde Park through their “excitable speech” against a legally sanctioned right to give a “public address” in the park. This discourse gave the state some room to evict those it claimed to be transgressing “public address”. However, different “heteroglossic coalitions” of regulars ensured that Hyde Park remained not only a “political assembly” to discuss political issues, but also a “social assembly” to exercise free speech on a range of social topics. Indeed, by the 1950s, these coalitions used a nearby road scheme to successfully argue it was the state that was potentially trespassing, or “encroaching”, on free speech at Hyde Park.     

‘Aristocracies of thought’: social class in the early folklore of Yeats and Hyde

The years 1888–89 saw the production of two influential collections of Irish folklore: Fairy and Folk Tales of the Irish Peasantry by William Butler Yeats and Leabhar Sgeulaigheachta by Douglas Hyde. These works broke strongly with the unscientific and patronising tone of the Buchmärchen tradition in Ireland and established a new theory of folklore. In this theory, Yeats and Hyde distanced peasant narrators in an attempt to secure literary and, ultimately, aristocratic origins for their tales. As a result, Hyde and Yeats, despite their Ascendancy upbringings, could view themselves (and not the peasant narrators) as the legitimate inheritors of folklore narratives. The very stories collected, however, challenge this power dynamic. Stories such as ‘Monachar agus Manachar’ directly critique the perceived unjust division of labour and profit in rural Ireland in a way that parallels the act of folklore collection. The tales themselves resist the rhetorical frameworks of their Ascendancy collectors.     

Vico: Past and present

In 1935, the British scholar Eliza M. Butler published The Tyranny of Greece Over Germany, in which she explored the appeal of Greek art and poetry to modern German writers. She argued that Hellenism had exerted a baleful influence on German literature and culture, and that Germans were especially—even dangerously—susceptible to the power of ideas. In her view, the most dangerous Hellenic concept to German culture and society was the daimon, which had reached Germany via the work of Winckelmann. Butler's thesis and methods may be problematic, as some reviewers of Tyranny pointed out, but her work is noteworthy as the product of a scholar who had lived in Germany and was a witness to history, familiar with German language, literature, and culture, writing on Germany during difficult times. As a British scholar who began studying German just before World War I and ended her career after World War II, Butler had an ambivalent relationship with Germany and Germans. But in addition to political factors, she was also influenced by her family, her educational and research experiences in Germany, and her preference for 18th- and 19th-century over 20th-century Germans. Moreover, her perception of Germans and Germanness was consistently posed against her perception of England and Englishness, and she defined the two cultural identities in terms of their relation to each other. Writing Tyranny as the National Socialists came to power in Germany, Butler judged Germans and their relationship to the daimon harshly. In 1956, Butler reconsidered the daimonic in a study of Byron and Goethe, and in this work it received a more sympathetic and nuanced analysis. A comparison of these two works is useful for understanding the evolution of Butler's thought in the 20-year interval between their publication.     

REIMAGINING REPRESSION: NEW CENSORSHIP THEORY AND AFTER

Emerging from the work of Foucault and Bourdieu in particular, a powerful theoretical critique of prevailing notions of censorship and its opposite, free speech, emerged in the waning decades of the last century. The principal theoretical contribution, I will argue, of this “New Censorship Theory” has been not to overthrow the dominant liberal conception of censorship, but rather to bracket this conception as a separate and ultimately subordinate species of censorship. In this article I reexamine the development of New Censorship Theory, especially its antecedents in the Marxist critique of bourgeois civil society. In place of an exclusive focus upon state actions, newer conceptions of censorship have enshrined self‐censorship as the paradigm and have seen traditional forms of censorship as secondary to impersonal, structural forms like the market. I argue that historians' qualms about New Censorship Theory stem from concerns over this erasure of the specificity of state repressive force. Rather than simply accepting the division of censorship into a dichotomy of repressive/authoritative and productive/structural, this article argues that no strict distinction ought to be drawn. Instead, investigations of censorship in the traditional sense must incorporate the insights of newer theories to understand state censors as actors internal to communication networks, and not as external, accidental features. By investigating the intellectual trajectory of New Censorship Theory, I posit a way forward for historians to incorporate its insights while addressing their concerns.     

Yeats,Samhain, and the aesthetics of cultural nationalism: ‘a supreme moment in the life of a nation’

Together, in the plays and essays published in the 1903 issue of Samhain, William Butler Yeats assembled writings that endorse his vision of cultural nationalism in that they stress the possibilities of an artistic regeneration that that has the power to reconcile perceived exclusive strata within Irish society and also to herald a new age not only for Irish culture but for the Irish nation. Yeats, in his cultural nationalism, ultimately vested faith in an Ascendancy tradition, defined not by birth as much as by a willingness to surrender not just political ambitions but all ambition to that of the artist.     

A Feminist Network in an Artists’ Home: Mary and George Watts,George Meredith,and Josephine Butler

This interdisciplinary, historicist-feminist paper (combining literary and art historical perspectives as well as an awareness of historical context and an application of recent feminist theory) explores the feminist affiliations of the Victorian artists Mary and George Watts, focusing specifically on their close friendships with the writer and women’s suffrage supporter George Meredith and the women’s rights worker Josephine Butler. It introduces the Wattses’ own anti-patriarchal conjugal creative partnership before investigating their relationships with Meredith and Butler through a reading of Mary Watts’s unpublished and hitherto untranscribed diaries (which record their interactions) as well as a discussion of George Watts’s paintings (particularly his portraits of Meredith and Butler in his ‘Hall of Fame’). This paper thus offers an unprecedented insight into the Wattses’ personal and professional relationships as well as their progressive socio-political positions, reclaiming them as early feminists who were part of a wider emergent feminist community. This paper’s discussion of the Wattses, Meredith, and Butler provides new perspectives on the connections, works, and views of these public literary, artistic, and feminist figures as well as the ways in which they supported and promoted the women’s rights movement that escalated over the course of the second half of the nineteenth century. It thus offers a fuller understanding of these figures as well as of the rise of early feminism in the Victorian period.     

Decolonisation and mysticism in William Butler Yeats's The Celtic Twilight and The Secret Rose

Yeats's responsibilities as one of Ireland's most prominent artists commenced with his aspiration to make Ireland a nation. His writings incorporate the three phases of development that Frantz Fanon posited for all new nations. Although Fanon described his three phases of decolonisation well after The Celtic Twilight and The Secret Rose were compiled, Fanon's framework elucidates Yeats's writings. Yeats's use of mystical elements embodies Fanon's idea of the colonial binary, the negritude binary, and transnational consciousness. Yeats discovered the answers to decolonisation in mysticism. His insights about folklore when coupled with imagination brought about many mystical revelations that linked Ireland to mysticism of global dimensions. Yeats's insights moved Ireland beyond binaries and solely nationalistic thinking to encourage Ireland to develop a transnational consciousness, transcending postcolonial binaries to achieve nationhood.     

Undoing Nature: The John Muir Trust's “Journey for the Wild”, the UK,Summer 2006

Abstract: I take as a point of departure for a discussion of the idea of nature the John Muir Trust's much publicised Journey for the Wild which took place in the UK during the summer of 2006. My objective is to explore how, at the same time that the “wild” was performed as a political category through the Journey, replicating the binary nature/society, prevalent norms of nature that depend on that binary, including, ironically, those of John Muir himself, were “undone”. I work with Judith Butler's (2004, Undoing Gender) ideas of “doing” and “undoing” gender and what counts as human, and her link between the articulation of gender and the human on the one hand and, on the other, a politics of new possibilities. Taking her argument “elsewhere”—unravelling what is performed as “wild” and what counts as “nature”—and using as evidence the art of Eoin Cox, the actions of journeyers, extracts from their diaries and from Messages for the Wild delivered to the Scottish Parliament, I suggest that the idea of a working wild points towards more socially just political possibilities than a politics of nature defined through a binary.