Contexts of Faith: The Religious Foundation of Walter Ong's Literacy and Orality

As priest and teacher, Walter Ong never separated his religious sensibility from his scholarship. Writing often about religious topics, he tells how he came to the fundamental insight (first articulated in Ramus, Method, and the Decay of Dialogue; Ong, 1958b) through his theological studies of the biblical Hebrew culture. Other aspects of his communication studies bear the mark of his religious vision, one sharing common elements with the theology of Pierre Teilhard de Chardin, whose writings he introduced to an American readership in the 1950s. Other religious influences on Ong's work range from his study of Thomistic philosophy and theology in the seminary to his literary studies of the religious poetry of Gerard Manley Hopkins.     

Revivifying Russia: Literature,Theory, and Empire in Viktor Shklovskii's Civil War Writings

Abstract

When in 1924 Iurii Tynianov identified Viktor Shklovskii's memoir A Sentimental Journey as a work 'on the margin of literature', he was commenting on the text's generic experimentation. But he also provided an apt label for its geopolitical setting, as war drives Shklovskii back and forth from Russia's dying imperial centre Petrograd to the country's peripheries. The sometimes uneasy relationship between Shklovskii's literary theory and his movement through the disintegrating Empire is this essay's main focus. Drawing on recent scholarship that identifies a fundamental paradox of modern literary theory as both the cosmopolitan study of literature per se and a discipline validated by national literary canons, the essay proposes that Shklovskii negotiates cosmopolitan and national impulses by exploring Russian literature as the expression of a multi-ethnic and multilingual empire. In analogy with Shklovskii's famous dictum that art exists to 'make the stone stony', the argument is made that in his Civil War writings Shklovskii strove to revivify the Russian Empire, that is, to 'make Russia Russian', by presenting his readers with a new and strange view of Russia from its imperial borders.     

TEXTURES OF THE MODERN: VIENNESE CONTRIBUTIONS TO CULTURAL HISTORY AND URBAN STUDIES

The following essay recapitulates the findings of a research project on Viennese modernity, which since 1995 has involved a group of historians, political scientists, literary scholars and sociologists examining the different phases in the history of the city in the twentieth century from a transdisciplinary perspective. The point of departure for the project was its participants' dissatisfaction with a myopic image of twentieth-century Vienna increasingly constricted to literary and aesthetic practices, which has focused on the ‘golden age’ of high culture in the Habsburg capital of the fin-de-siècle while omitting crucial periods of the city's history, in particular the political and cultural crisis between 1918 and 1938, and the phase of material and cultural reconstruction after the ‘collapse of civilization’ that was Nazism.     

‘Khalas! Literature is the resistance against politics,and this is the politics of literature’: an interview with Atiq Rahimi

ABSTRACT

Atiq Rahimi is a director, photographer and translingual author who has published in Dari (Persian) and in French since 1999. As an outspoken author, Rahimi did not refrain from narrating loss, trauma and fundamentalism already in the 1990s. For his first publication in French, Syngué Sabour. Pierre de patience, he was awarded the highest literary price in France, the Prix Goncourt. With his recently published novel Les Porteurs d’eau, set in Afghanistan and Europe, Rahimi also explores challenges of the global Afghanistani diaspora. Inspired by his personal experiences of travelling from Kabul to Paris, Rahimi explores, with his Kafkaesque narratives, themes of loss, suffering and survival, all located in a war-torn country. In this interview, conducted in Paris, conversing in Persian and French, Rahimi talks about his personal journey and discusses cultural as well as literary theories. He mentions literature without borders, considers the power of literature as a means of taking a stand against political reality, learning French as a teenager and depicting strong female characters. Additionally, Rahimi explains to what extent Persian linguistics allowed him to depict the absurdity of living exile in his latest novel and ends the interview explaining the rationale behind the idea of authors without borders.     

The Literary Front of the Cold War: John Steinbeck as an Ideological Object in the Eastern Bloc

Abstract

The paper examines the ideological dimension of the reception of John Steinbeck in three post-communist countries, namely Poland, Czechoslovakia, and Slovenia. It discusses the prevalent mode of the writer's interpretation in the Eastern bloc which was governed by the political doctrines of the time. It is therefore often Steinbeck's politics, in the narrow sense of the word, that is scrutinized in the prefaces, afterwords, and reviews of his writings. The literary values are either marginalized or wholly ignored. Consequently, Steinbeck's criticism is determined by political correctness. It fails to consider the complexities of his work and treats the writer as an expedient object employed in the ideological campaign on the literary front.     

Bread and wine: Bourdieu's photography of colonial Algeria

The photography of Bourdieu, whilst documenting aspects of his sociological work in Algeria, problematizes the relationship between its photographic referents and their history. To grasp this relationship, I will decode the historical signification of three photographs taken by Bourdieu in the mid-1950s when Tillion published L'Algérie en 1957 and Sartre 'Le colonialisme est un système' situating Bourdieu's photographic and sociological work in relation to both Tillion and Sartre. Although the influence of Tillion on Bourdieu is discernable, especially in Sociologie de l'Algérie , their political positions are at variance. Bourdieu's snapshots provide us with a perspective on how to interpret the causes of the vagrancy and famine in colonial times. Despite his avowed hostility to Sartre, Bourdieu concurs with the latter's critique of colonialism. His three photographs together project a political affinity with both Sartre and Barthes. The impoverishment of native Algerian society was not due to the fact that it failed to catch the train of progress, as Tillion intimates; rather it resulted from its systematic despoilment by colonial France.     

Phenomenology and Film: An Examination of a Religious Approach to Film Theory by Henri Agel and Amedee Ayfre

French film theorists have made a great impact on filmmaking through their essays on the nature and policies of film. The French phenomenologists search for a spiritual reality beyond the semiotic and materialistic theories represented in cinema criticism today. They argue that as the most important of modern art forms, cinema must embrace the realms of the imagination and the divine. This article sets out to examine the writings of two French film theorists of the 1950s and 1960s, the phenomenologists Henri Agel and Amedee Ayfre, whose work is little known in the United States because it has not been translated into English. Their importance lies in their concern with transcendence in film, which has made an important contribution to the way we can understand spirituality in film. Their writings were popularized in the United States by screenwriter and film director Paul Schrader (1972) in his book Transcendental Style in Film. In this article I examine phenomenological theories and suggest that certain films made in Texas in the 1980s display the virtues of a phenomenological approach to filmmaking.     

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.     

A different life?: Barthes,Foucault and everyday life

How might the injunction to ‘think differently’ in the work of French theorists Roland Barthes and Michel Foucault have informed a re-thinking of everyday life? In Barthes’ work, a critical analysis of myth and ideology in the contemporary everyday life of the late 1950s gives way to counter-ideological strategies that might seem to move away from the everyday and towards the utopian. However, the utopian imagination at work in Barthes’ thought is effective precisely in its insistence on the everyday detail. This is reflected in the later work in the attention given to the incident and the haiku. In his later work, Foucault turns towards antiquity in response to his own assessment of the ubiquitous diffusion of relations of power and the need to ‘think differently’. It is, however, in the interviews and specifically in a series of comments on homosexuality that Foucault is most attentive to the ‘possibilities for new life’ in his own time. It is through the undoing of already established relations and the experimentation with different modes of relation that a locus of difference can be found in everyday life. This is characterized by Foucault as a heterotopia. Foucault’s tentative suggestions of different possibilities are oriented towards an intensification of pleasures, counter to the psychoanalytic attention to desire. However, Foucault’s account of pleasure is associated with mortality, suggesting the question: is this different life one destined only to posterity and its own transcendence? Deleuze’s reading of Foucauldian subjectivation suggests a different strategy of resistance, more attuned to the immanence of a life.     

Ilyenkov on Aesthetics: Realism,Imagination, and the End of Art

It is sometimes claimed that Evald Ilyenkov's writings, particularly those on the problem of the ideal, best express the philosophical framework of Russian cultural-historical psychology and activity theory. In this article I consider a neglected part of Ilyenkov's legacy: his work on aesthetics. Ilyenkov's writings on art cast significant light on his views of culture and mind and on the humanistic vision at the center of his philosophy. In 1964, on a rare trip to the West, Ilyenkov visited an exhibition of pop art in Vienna. He was disgusted by what he saw and wrote a scathing critique entitled "Chto tam, v Zazerkal'e?" ("What's there, through the looking glass?"). Does Ilyenkov's antipathy to pop-and, indeed, to so-called modern art in general-show him to be enamored of a narrow, reactionary form of socialist realism? If so, how can this be squared with his reputation as a creative, critical voice within Soviet Marxism? I examine Ilyenkov's other writings on aesthetics in search of a nuanced interpretation of his reaction to pop. I consider his idea that art should serve to cultivate higher forms of perception and his attendant concepts of aesthetic sensibility and imagination, and I explore how these notions contribute to his view of the unity of the cognitive virtues, his hostility to the division of labor, and his ideal of genuine human activity, guided by reason. Such themes are vital constituents of Ilyenkov's humanism, which celebrates free, creative activity as a life principle that must assert itself against the mortifying forces of mechanization and standardization. Although these ideas may not entirely redeem Ilyenkov's hostility to modern art, they reveal his stance to be far more sophisticated than appears at first sight.     

Possessed by Poe: Reading Poe in an age of intellectual guilt

Abstract

This essay enters the debate over the French appropriation of Poe not by seeking redress for the supposed political misdeeds of either Poe or the French, but rather, by addressing itself to the American response to the French reception of Poe. While American cultural studies critics in particular have sought to hold the French accountable for ignoring Poe's troubling biography — one in which the question of Poe's relationship to, and possible support of, antebellum slavery remains unanswered to this day — I argue that the important question of how we as critics situate ourselves in relation to material history is too often buried under a moralizing rhetoric of accountability. Following from, and extending, Jacques Derrida's notion of ‘speciality,’ I maintain that material history is itself a kind of conjuration that belies any strict distinction between the material and the immaterial. Against the demand for accountability, the notion of history‐as‐conjuration allows us to address questions of historical responsibility in a manner that circumvents the impulse to hold Poe accountable for his crimes’.     

DEWEY'S CRITIQUE OF MARXISM

This paper examines the development of John Dewey's critique of Marxism. We trace the development of Dewey's critique from his early political writings and his political encounter with Leon Trotsky to his mature critique. We also examine how Dewey's concerns anticipate ideas expressed in the contemporary discussion of Marxian morality and how this discussion helps clarify Dewey's concerns.     

The feeling of the incommensurable: Lawrence Grossberg on affect and incommensurability

This essay analyzes Lawrence Grossberg's work on the concept of commensuration, and especially his suggestion that we face a generalized crisis in our mechanisms for commensurating values. In making explicit the ways in which Grossberg's reflections on commensuration connect with his recent assessment of the contemporary social landscape in the United States – particularly the affective landscape that he describes in his work on the election of Donald Trump – I suggest that Grossberg's approach is, in part, distinguished by its attentiveness to the affective dimensions of commensuration (and of incommensurability). It can thus be contrasted with many previous approaches to commensuration, which view it exclusively as a problem at the level of practical reason, focusing on how we adjudicate between different bearers of value and how we justify, or give reasons for, our choices among them. Although such questions are also present in Grossberg's work, I argue that his writings contain a subtle treatment of the moods, attitudes, and tacit dispositions that characterize what if feels like to live through significant breakdowns in established logics of measure and comparison. Following Grossberg, I claim that having an adequate account of this affective dimension is crucial if we are to construct political alternatives that can address the felt sense of crisis in American political life.     

'If we only had some of what they have' Ralph Ellison in Wales

Abstract

During his period as a merchant marine in the Second World War, the African American novelist Ralph Ellison was stationed in Swansea, Wales. His short story 'In a Strange Country', collected in Flying Home and Other Stories (1998), is based on these Welsh experiences, and there are two other unpublished Welsh-based stories among the Ellison papers at the Library of Congress: 'A Storm of Blizzard Proportions' and 'The Red Cross at Morriston, South Wales'. This article considers these stories as a basis for exploring the cultural and historical connections and correspondences between African Americans and the Welsh. In drawing inspiration from Ellison's critical writings, the article seeks to substantiate a genuinely comparative, transatlantic approach to literary and cultural texts. This approach leads to an exploration of the ways in which the diversity of the Welsh experience – manifested in language, politics and cultural practice – led Ellison to meditate in new ways on the issues of race, nationhood and identity that he would later famously address in Invisible Man.     

British Cities and Ethnic Minorities in the Post-war Era: From Xenophobic Agitation to Multi-Ethnic Government

This essay retraces the history of immigration and ethnic minority politics in British cities in the post-war era. It shows that British cities evolved in that period from an attitude of indifference and/or hostility to immigrants in the late 1950s, to the creation of race-sensitive policies in the context of a bipartisan effort to depoliticize the issue at the national level in the 1960s, and finally to increasing participation of minorities in the politics of the Labour Party from the late 1970s onward.     

“Machinisme”, Marxism,humanism: Georges Friedmann before and after WW II

Georges Friedmann (1902–1977) is known for the humanist sociology of work he founded after World War II. Before the war he was a Marxist intellectual, close to the French Communist Party and an admirer of the young Soviet Union. The effect of this political and ideological itinerary on his sociology of work has never been analyzed systematically. Here the question is handled by following the presence of a central concept in his work, “machinisme” [see note¹]. This concept does not come from Marx's thinking but from that of the Romantic historian Jules Michelet, whose writings Friedmann was fully familiar with. A key term in Friedmann's early writings, it was abandoned after World War II in favor of the “natural milieu/technical milieu” conceptual pair. This terminological change went together with a radical change in Friedmann's point of view.     

Stjepan Metrović and Michel Maffesoli's 'implosive' defence of the Durkheimian tradition: theoretical convergences around Baudrillard's thesis on the 'end' of the social

This paper critically examines Metrovi? and Maffesoli's attempt to understand postmodernity through Émile Durkheim's nonrational link between society, religion and morality. Metrovi? (1991, 1997) and Maffesoli's (1996) work draws upon this emotional element when attempting to refute Baudrillard's (1983) cognitively focused, if implicit, critique of the Durkheimian tradition. Despite their best intentions, Metrovi? and Maffesoli still fail to exploit the partialities of Baudrillard's critique to the full. While both have some appreciation of the link between emotion and religion as found in Durkheim's The Elementary Forms of Religious Life (1912) they, nevertheless, fall short of grasping its full conceptual importance. This leads them to an implicit acceptance of Baudrillard's thesis on the ‘end’ of the social. This pitfall could have been avoided if Metrovi? and Maffesoli had built their respective analyses of the postmodern condition on a closer reading of The Elementary Forms. Reading this text alongside those other insights on emotion and social life as contained within Durkheim and Mauss's Primitive Classification (1903) and Talcott Parsons's subsequent writings on the sociological problem of religion, would have helped to distance the work of Metrovi? and Maffesoli from that of Baudrillard, and allowed them to offer a stronger and more comprehensive defence of the said tradition.     

Mystification as an Artistic Strategy in Milan Kundera's Work

ABSTRACT

Using close reading of Kundera's texts, Jan ?ulík argues that many arguments in Milan Kundera's literary works are deliberate provocations. Kundera's approach is undoubtedly related to post-modernism, although he used his mystification techniques long before the arrival of postmodernism, as early as in the Stalinist 1950s when he published fake quotes from Lenin in official Stalinist publications. In Jan ?ulík's view, it is the purpose of Milan Kundera's systematic use of false facts, distortions and disrupted logic to warn his readers against against the unreliability of words and human communication. Kundera seems to argue that the world in its complexity is basically unknowable and the only thing that is left for us is, in despair, in our ignorace of what is going on around us, to carry out pranks.     

Motherhood,Myth and Gendered Agency in Political Violence

By building on theoretical insights from poststructuralist feminism and Roland Barthes' mythology framework, this article is offering a nuanced understanding of female agency in political violence by engaging with the visual and the cultural, by using a broader definition of agency in political violence and by analysing what gendered representations of war mean at the domestic level. In the first part of the article, the Myth of Motherhood is conceptualized as a meta-discourse disciplining representations of female agency in political violence. The article then focuses on two specific discourses within the meta-discourse, the Vacant Womb and the Deviant Womb, that inform understandings of gender, agency and political violence in one particular cultural artefact: the British television drama, Britz. The main argument is that motherhood is ‘everywhere’ in representations of female agency in political violence and that it is useful to think about motherhood as a myth. Only this way can we confront underlying norms, values and ideas believed to be common sense and think differently about gender, agency and political violence.