Rethinking the Politics–Religion Distinction

William T. Cavanaugh argues that the politics–religion distinction presupposes covert commitments that inappropriately support a “migration of the holy” from the church to the state. Despite his strong critical instincts, several of his genealogical propensities appear to stand in tension with his commitments to constitutional democracy and the universality of grace. By contrast with Cavanaugh, John Rawls’ post-metaphysical reformulation of the politics–religion aims to identify a public criterion compatible with a plurality of comprehensive doctrines. Although I commend Rawls for retaining some form of this distinction, I question the possibility of a post-metaphysical standpoint and its compatibility with his commitment to what he calls the “fact of pluralism.” Drawing on Bernard Lonergan’s transpositions of human nature and grace in this paper’s final section, I develop an alternative account of the relationship between politics and religion that aims to harmonize some of the strongest insights from the work of Cavanaugh and Rawls.     

Woman's Work in the Service of Empire: Lady Margaret Field (1905–94) from School Teacher to Governor's Wife

The presence of single and also of married British women in overseas colonies, especially those employed by or married to men in the Colonial Service in the later colonial period, has been the subject of scholarly enquiry. Their lives, roles and values and their distinctive contribution, if any, to the development of empire and of its ending have been debated. Their gendered roles were usually subordinate in a masculine culture of empire, and especially as wives they are commonly regarded as marginalised. The archived records left by Lady Margaret Field reveal her commitment as a single woman to a colonial mission and her sense of achievement as a school teacher and educational administrator, while also acknowledging the independence and career satisfactions she subsequently lost when she married a senior Colonial Service officer who rose to be a governor. But it is also apparent that, though incorporated and subordinate as a governor's wife to her husband's career, she was not marginalised to a separate sphere. As is evident from this case study, governors’ wives had important and demanding political duties, and such responsibilities need to be acknowledged.     

The religious geography of Marvell’s “An Horatian Ode”: popery,presbytery, and parti-coloured picts

ABSTRACT

Marvell’s “Ode” (1650) is an English poem about a British problem – a problem further problematized by religion. The “Ode” lauds Cromwell’s Irish and Scottish campaigns, but English responses to these “colonial” wars were in reality complicated by protestant infighting among presbyterians, independents, and sectarians. Writers like Milton and Nedham rallied English support for Cromwell’s Irish campaign by recycling Spenserian stereotypes of Irish catholic barbarity. But Milton and Nedham also undercut English protestant unity by flinging these same anti-catholic stereotypes at Scottish presbyterians in Belfast and Edinburgh. Departing from previous studies, this article argues that Marvell’s “Ode” eschews Milton and Nedham’s anti-Presbyterianism in ways calculated to elide, rather than divide, protestant communities. The article explores how the “Ode” presents Cromwell’s Irish and Scottish campaigns as exclusively anti-catholic (rather than anti-presbyterian) crusades, comparing Marvell’s presentation of Cromwell in the “Ode” with his identification of Cromwell as an anti-catholic crusader in “First Anniversary” (1655). Both poems anticipate in this respect Marvell’s later anti-catholic, but pro-nonconformist, approach to Ireland in Rehearsal transpros’d (1672–1673). The article is therefore concerned to root Marvell’s post-Restoration commitment to protestant tolerationism within the anti-catholic language of the “Ode”.     

A journey to Mars: John Dewey’s lectures and inquiry in China

ABSTRACT

Instead of the framework of influence–acceptance commonly used in previous studies, the author uses new sources to reexamine John Dewey’s visit to China from the perspective of interactive experience. This study presents Dewey’s lectures in China as the result of interrelationships among a variety of elements – Columbia University, different hosts and audiences, the media, all levels of the Chinese government, the domestic situation in the United States, the international situation, and Dewey’s expectations and work – against the general background of China’s New Culture Movement and new educational reforms. Dewey’s speeches on democracy, science, and new education were remarkably successful in the first year of his visit to China, but began to meet with resistance from some students beginning in June 1920. Because of the Red Scare in the United States, Dewey had to stay in China. In the second year of his visit, he gave warmly welcomed lectures on the same topics in Jiangxi, Fujian, and Guangdong Provinces. With a deeper understanding of China, Dewey not only identified himself with reform plans but also began to pay more attention to China’s economic problems. His inquiry into the problems confronting China is a good example of what he advocated in his lectures: seeing democracy, science, and new education as a way of thinking and carrying out actions and making intellectual choices while moving forward.     

The Armada Tapestries in the Old Palace of Westminster

The tapestry series of the ‘Defeat of the Spanish Armada’ was a national artistic treasure which hung in the old Palace of Westminster from the mid 17th century until the fire of 1834. This article outlines the creation of the tapestries in the 1590s and covers the major treatments of them in illustrations of parliamentary interiors and in John Pine's 1739 engravings; it ends with a short account of the curious episode of the tapestry which escaped the conflagration. In the absence of any known historical record of how the tapestries were displayed, suggestions are offered about how many and in what order they hung in the two chambers occupied successively by the house of lords (before and after 1801), and about how they were physically supported on the walls of the Parliament Chamber.     

ET SI C'ÉTAIT PAR LA FIN QUE TOUT COMMENÇAIT? PEN BEFORE PLOT,OR TRESCH ON POE'S REVERSALS

This brief comment offers some reflections on John Tresch's “Compositor's Reversal.” Contrasting his approach with Gaston Bachelard's, I situate Tresch in the tradition of reading Edgar A. Poe's Narrative of Arthur Gordon Pym as a riddle to be decoded. I suggest that Tresch's analytical emphasis on material composition practices rather than Pym's content opens up insightful ways of reading both Pym itself in terms of its composition, style, and narrative voice, and also Poe's well‐known programmatic Philosophy of Composition. The key achievement of Tresch's article beyond its engagement with Poe scholarship is its contribution to the study of writing practices and media studies more broadly. By demonstrating the tight connection Poe forged between natural theology and the material practice of typography, Tresch inserts the typesetting process as an important step in the historiographical trajectory between pen and typewriter. He shows that the mid‐nineteenth‐century context of natural theology marks a decisive difference in connotation between Poe's compositional play with questions of authorship and plausibility, of truth and appearance both described in and performed by his narrative, and later concerns with the apparatus and its potential for the production of an écriture automatique.     

A first meeting place: John Webber’s An Interview Between Captain Cook and the Natives (January 1777)

On 26 January 1777, on the first stage of his third voyage to the Pacific, James Cook anchored in Adventure Bay on what is now called Bruny Island, Tasmania. Cook encountered the local Nuonenne people on two occasions, the second of which was recorded in an unfinished drawing (possibly done on the spot) by the expedition’s artist, John Webber. Comments in their journals from officers and sailors on board Cook’s ships indicate that the European perceptions and representations of Aboriginal people were initially mediated by the explorers’ stereotypical understanding of other races. However, through a close reading of a number of structural features of Webber’s composition – symmetry, resemblances in opposition, chiasmus, a figure who acts as a spectatorial stand-in, spatialisation – it is argued that Webber’s drawing recognises the Aboriginal people encountered by the British as individuals, attends to the dramaturgy of the encounter, and is marked in various ways by a powerful and grounded indigenous agency. It is proposed that anthropologist Marshall Sahlins’ paradoxical aphorism ‘structure of the conjuncture’ might be used to illuminate and designate the particular quality of events, the ‘indigenous countersigns’, depicted by Webber in this drawing.