Three novels of terrorism: explorations in the politics of literature

ABSTRACT

This article explores the political role of literature through the medium of three novels of terrorism: Francesca Marciano’s Casa Rossa, Nicholas Shakespeare’s The Dancer Upstairs and Ann Patchett’s Bel Canto. The literary features of these novels, set in the Italy of the Red Brigades and the Peru of Shining Path and Tupac Amaru, foster a political perspective that is a de facto endorsement of the status quo in each society. They hinder a comprehensive understanding of the underpinnings of terrorism that is essential to the formation of counterterrorism strategies.     

History,Politics, and the Cartography of Sexed Bodies in Iurii Illienko’s A Prayer for Hetman Mazepa

Abstract

This article explores the “corporeal” dimension of Iurii Illienko’s reconstruction of cultural and historical discourses in the 2002 film Molytva za het'mana Mazepu [A Prayer for Hetman Mazepa], which focuses on the hetman’s drama, his relationship with Peter I, and the defeat of Swedish and Ukrainian joint forces at the Battle of Poltava in 1709 that signified Ukraine’s submergence into a supranational, imperial community. Illienko’s cinematic space, in which plots of history and sexual politics are mapped onto one another, allows for conceptualizing the body as a site of political and cultural construction, contestation, and radical resistance. Demanding an intertextual approach that involves an open exchange between his cinematic domain and a “universe” of intersecting historical, cultural, ideological and political discourses, his multilayered re-memoration strategies expose both the fictionality and the political dogma surrounding the inherited mythologies. As a decentred reflection of the past, the film poses critical questions about competing histories and the dynamics of historical agency in colonial and postcolonial contexts, thus making a contribution to the protracted process of decolonization in Ukraine.     

Struggle and solidarity: civic republican elements in Pierre Bourdieu’s political sociology

Pierre Bourdieu developed a theory of democratic politics that is at least as indebted to civic republicanism as to Marxism. He was familiar with the civic republican tradition, and it increasingly influenced both his political interventions and sociological work, especially late in his career. Bourdieu drew above all on Niccolò Machiavelli’s version of republicanism, though the French republican tradition also influenced him via Durkheimian social theory. Three elements of Bourdieu’s work in particular—his concept of field autonomy, his view of interests and universalism, and his understanding of how solidarity is generated and sustained—may be understood, at least in part, as sociological reformulations of republican ideas. By drawing attention to these republican influences, the article aims to show that the conceptual resources which some critics, including Jeffrey C. Alexander, consider indispensable to an adequate theory of democracy are not entirely absent in Bourdieu’s work. On the basis of this reassessment, the article concludes that Bourdieu and Alexander are not as opposed in their thinking about democratic politics as it might first appear.     

The Defeat of the Guitar Army: Don DeLillo,John Sinclair,and the Rock Revolution

Abstract

Don DeLillo’s 1973 novel Great Jones Street is seldom analysed as a serious engagement with the rock music and countercultural politics of the 1960s, yet these constitute its historical context, its subject matter, and its central concerns. An historicized reading positions the novel as an intervention into contemporary debates about the causes and consequences of the defeat of the 1960s ‘rock revolution’. These debates were most thoroughly synthesized by the rock culture’s chief agitator and organic intellectual John Sinclair in his 1972 book Guitar Army. Like Guitar Army, Great Jones Street dwells on the connections between the political failure of the rock revolution and the provenance and validity of rock’s anti-rational aesthetic. Sinclair finds political hope in re-emphasizing rock’s anti-rationalism, rooted equally in black music and the psychedelic experience. More sceptical, DeLillo offers a very different reading of the rock culture’s view of African American aesthetics and its use of psychedelics.     

Reconstructing the Border: Jim Lynch and the Return of the Canada-US Boundary

Abstract

The western portion of the Canada-US border has always been problematic. Since it does not follow any 'natural' divide, such as a river, lake, or mountain range, it tends to be seen as an aberration, a political construct that lacks logic of its own. However, in his 2009 satire Border Songs, the Washington State novelist Jim Lynch reintroduces the Canada-US border as a marker of significant cultural and political difference. Even though he describes the international boundary as a 'nonsensical' line, Lynch suggests that people on the two sides of the border have remarkably different views of the world, notably when it comes to such issues as pot-growing and terrorism.     

Discarded Histories and Queer Affects in Anne Carson’s Autobiography of Red

This article takes up Anne Carson’s Autobiography of Red (1998) as an allegory for the discarded history of queerness. The novel in verse rewrites the Greek myth of Herakles (Hercules) and the red-winged monster Geryon as a queer love story. In Carson’s rendition, Herakles is not a colonizer who murders Geryon to seize his red cattle but a lover who steals and breaks his fragile heart. Born hybrid in a modern-day context, Geryon struggles with narrating his life in words and instead takes pictures.

By asking us to pay attention to history’s queer affective traces, Carson invites us to think about how bodies become discarded social monsters and how monsters must learn to live in their bodies. She turns our attention to the traumas and their affects that render the activities of subjectivity unpredictable and undecipherable. In Autobiography of Red, “queer” is not simply sexual orientation but the abject perversions of difference, not easily nameable. Without the familiar registers of identity, we are invited to witness and to be touched by Geryon’s life through his photo-autobiography, which captures the affect of experience, otherwise lost to the foreclosures of time.     

Minute Particulars of the Counter- Culture: Time,Life, and the Photo-poetics of Allen Ginsberg

Abstract

Recent exhibitions of Allen Ginsberg’s photographs, which feature 1950s snapshots of his fellow-Beats Jack Kerouac and William Burroughs, have been dismissed by some as marketing exercises for the Beat myth that promote their biocentric image. Ginsberg himself invited comparisons between his work and Robert Frank’s The Americans. However, a detailed material analysis of his work as a poet-photographer, paying close attention to his handwritten captions, recognises it as a complex hybrid that extends his prophetic poetics. In particular, contextualising his work in relation to the 1950s photojournalism of Life and Time establishes the ways in which Ginsberg, and Burroughs, responded to the attacks made on the Beats in those magazines on behalf of Henry Luce’s ‘American Century’.     

Extension of Sartre's Philosophy for Today's World Situation

Sartre's philosophy was futurogenic. He was also a political activist. This article discusses how his philosophy applies to today's and tomorrow's political situations in the world. This article also extends his theory in the light of recent findings in social sciences and neuroscience. lf he were living today: (1) he would condemn collectivistic theories such as symbolic interactionism in sociology, and constructionism in psychology, which foster ingroup homogenization and self-stereotyping, and rationalize group-against-group hostility, violence and terrorism; (2) he would promote the understanding of HTICT (heterogeneity and trans-groupness of individual cognitive/cogitative/action types); and (3) he would reform inbreeding in organizational practice and replace it with outbreeding and polyocular vision.     

Wresting Memory from the Violence of the Present: Rape,Martyrdom, and Double Narrative in Paul Friedrich's Agrarian Revolt in a Mexican Village*

Abstract Post-Modernist critiques of ethnographic method tend to reduce research and writing to only writing and erase the traces of the researcher's field experience that may appear in a text. Such critiques confer more power on the ethnographer or oral historian than he or she possesses. I argue that researchers invariably manoeuvre within political contexts in order to obtain knowledge, and that the intersubjective interaction between scholar and subject creates both silences and visibilities in the final text. In Agrarian Revolt Paul Friedrich constructed a revolutionary counter memory against his own hidden master narrative of opportunism, betrayal, and political violence. Yet partly due to his interaction with members of the competing political clans, he replicated in his counter-memeory the crucial premises of the ruling clan's ideology: the ‘doctrine of genealogical unity’ and its correlates of blood descent and female purity.     

The Rosenberg video: testimonio,theatricality and baroque politics in contemporary Guatemala

This article focuses on the assassination of Guatemalan lawyer, Rodrigo Rosenberg, on 10 May 2009 and his videotaped accusation of the Colom administration, broadcast after his death. Rosenberg’s self-produced video testimony, and the ‘staging’ of his own death, opens up questions about the role of testimonio and theatricality as modes of political address. I argue that the spectacular politics of the Rosenberg video, while drawing from the testimonio genre and incorporating electronic media, mark a return to a baroque conception of politics.     

Dramatic performances in the play of politics: Egypt,Obama and the works of Jeffrey Alexander

This review article explores Jeffrey Alexander's cultural theory of political transformations. In his two recent works Performative Revolution in Egypt (2011) and The Performance of Politics: Obama's Victory and the Democratic Struggle for Power (2009), Alexander analyses the fall of President Hosni Mubarak and the rise of President Barack Obama, respectively. Alexander challenges the idea that revolutions depend primarily on the material conditions of a population, demographic changes, and the capacity of a group of contenders to gather material support for an overthrow. He also argues that the stagecraft of the political horserace matters for national elections. The strong versus weak dramaturgical performances of presidential candidates (rather than macroeconomic or geopolitical changes) proved consequential for changes in the poll numbers of Obama versus McCain, for example. Macroeconomic conditions had to be filtered, interpreted, and made meaningful; the candidate who could cast these material conditions onto the sacred side of civil discourse improved his likelihood of victory. Curiously, many social scientists and political pundits have largely taken performances for granted in the democratic struggle for power, and have therefore rendered the charismatic speeches and the grand narratives (culture) as epiphenomena, plays in the shadow of large structural shifts – a residual variable, or else as shifting, evanescent meanings produced in local, face‐to‐face settings. In the newer understanding, ‘culture’ is a level of analysis researchers use to investigate symbolic patterns and meaningful practices that structure how people act, how they define identities, even how they define what counts as ‘strategic’ or instrumental. Since the 1980s, sociologists working with this notion of culture have crafted different approaches to political culture, in national, organizational, and informal everyday arenas. Their different culture concepts carry different strengths and liabilities for research and they rely on different assumptions about action and meaning. This article reviews these arguments and asks what the limits to Alexander's performative theory are, how his theory can be reformulated to address settled versus unsettled political regimes, and how disaggregating Alexander's concept of audiences along with their roles in political change would provide the theory with greater predictive power.     

The moral evolution of the Russian–Yiddish–English writer Abraham Cahan

One of the ways in which Cahan remained culturally Russian was his devotion to the kind of literary realism that embodies a clear system of values. This article examines the kind of values Cahan promoted, looking specifically at how this writer of educative but realist fiction dealt with the disconnect between socialist ideals and immigrant life. It follows the evolution of Cahan’s literary formula from the transparency of the early stories to the cynicism of The Rise of David Levinsky, seeing the seeds for transformation in the “Bintel Brief” advice column of the Forverts, which was executed and possibly written under Cahan’s direction. The moral vision of Levinsky is compared to that of two predecessors with which Cahan was familiar: William Dean Howells’s The Rise of Silas Lapham and Pyotr Boborykin’s 1881 Russian novel Kitaigorod.     

Joseph Mainzer (1801–1851) and the Popularisation of Choral Singing in Britain

Singing master Joseph Mainzer came to England in 1841 as a political refugee from Germany. Through his music schools, his textbook Singing for the Million, and his journal Mainzer's Musical Times (today The Musical Times) he contributed significantly to the popularisation of choral singing in Britain. This essay takes Mainzer's political background as a starting point to investigate the complex relationship between refuge and artistic production. It is argued that the latter was deeply informed by the former. Mainzer not only transferred choral traditions but also a politicised concept of popular culture which started to take hold in pre-revolutionary Vormärz-Germany. The case study is integrated into the larger framework of Anglo-German cultural relations and political refuge in mid-nineteenth century Britain.     

Russian Sex Studies in the West: What They Talk about When They Talk about Love

Abstract

The approach to Russian sexuality exemplified by Eliot Borenstein’s recent keynote conference address, ‘Perverting Slavic Studies: A Love Story’ is examined and placed into the overall context of some common myths and clichés that seem to circulate in Russian sex studies outside Russia Each of the three parts of the study addresses a familiar set piece about sexuality in Russian culture and literature: Rozanov as an anti-Semitic sadist, as discussed by Laura Engelstein; Viktor Erofeev as an arch-enemy of academic feminists, as framed in the collection Eros and Pornography in Russian Culture; and finally Borenstein’s broad approach and his ‘Russian pornography as an idea’. In a brief summary, some of the most conspicuous problems of the burgeoning Russian sex studies ‘industry’ in the USA are formulated as it struggles to come to grips with its topic.     

A conversation on madness: Foucault and Ripa

Written as a fictitious dialogue between two of this generation’s most prolific social theorists, this unique analysis explores the similarities and divergences of Michel Foucault’s and Yannick Ripa’s scholarship on madness. During an imagined meeting at a local café, a spirited dialogue emerges addressing mutual agreement and unwavering criticism of each author’s perspective of how madness was constructed and managed throughout the classical and Victorian eras. Ripa’s primary motive is to challenge Foucault for ignoring the feminine critique within his over-arching theories of social and patriarchal systems of control. On the other hand, Foucault’s vested interest is to explore Ripa’s narrowed historical scope that he feels was essentially built upon his own scholarship without acknowledgement. Drawing upon a comparative study of Foucault’s History of Madness and Ripa’s Women and Madness, the two theorists engage in a revealing conversation about aspects of political economy, shifting roles of religious ideology, gender effects, the social construction of insanity, and the historical methods of incarceration.     

Typology of Slovenian Drama in the Period Between the Two World Wars

From the 1970s, the term metafiction has been mostly confined to studies of American and Western European literatures; I propose using metafiction as a means of approaching Sergei Dovlatov’s Zona [The Zone], a novel which blurs the line between fiction and memoir. In one sense a prison text, in that it concerns the lives of guards and prisoners in a camp, it is, however, divorced from survivor narratives in that the camp does not contain political prisoners, so the “heroes” are the thieves and criminals so universally reviled in other memoirs of the Soviet gulag. It is also a record of its author’s developing need to write as it tracks the transformation of the guard Boris Alikhanov, Dovlatov’s alter-ego. Dovlatov’s authorial persona serves not to elucidate the text, but to construct a hybrid prison memoir which supports his views on the prison experience; views which are in opposition to the pre-existing tradition, and this leads me to describe The Zone as a metatextual camp narrative, containing many of the attributes of the metafictional novel, though originating from the memoiristic impulse and still straddling the line between fiction and nonfiction in a way that true metafictions do not.     

The Language of the Presidential Election Campaign in Ukraine

The objective of the article is to trace and analyze Ukrainian language use in the recent presidential election campaign, paying particular attention to lexical innovations, neologisms, and satirical allusions. These changes are presented as the continuation of a steady process of democratization or liberalization of the Ukrainian language, a phenomenon some researchers previously attributed only to Russian. The language practices of the "Kuchma-Yanukovych regime" is presented and analyzed. The view of Yushchenko by his supporters as the narodnyi kandydat/prezydent (the people’s candidate/President) finds its antipode in political neologisms coined by Yanukovych’s camp (e.g., nashysty/nashysts’kyi), which were designed to attribute fascist tendencies to Yushchenko’s bloc, Nasha Ukraina ’Our Ukraine’. The egg farce during the campaign showed the vulnerability of Yanukovych’s camp to satire.