On Samir Amin’s call for a Fifth International

ABSTRACT

In his prodigious output, from works on capitalist development to analyses of Islamist movements to involvement in the World Social Forum, Samir Amin’s was a consistent voice for struggle against capitalism’s domination of the world and its peoples. In this brief essay I address his call for a shift from movement to organization, indeed, toward a kind of Fifth International and explain why I endorse it.     

William Blake and America: Freedom and Violence in the Atlantic World

Abstract

In this article, I consider the absence of a general readership of William Blake's poetry in nineteenth-century Britain and compare that neglect to the American Transcendentalists' reading of Songs of Innocence and Experience (1794) in the 1840s. The American interest in Blake's poetry is complemented by his fascination with the events in the Atlantic World in the years culminating in the American War of Independence. I will offer a reading of Blake's America: a Prophecy (1793) showing that the Civil War fulfilled his prophecy of inevitable future conflict. This is developed first by considering Ralph Waldo Emerson's changing responses to slavery and race during the turbulent middle decades of the century, and then by addressing Walt Whitman's attempt to negotiate postbellum America. This negotiation, I argue, results in the emergence of those two powerfully conflicting strains in his mature poetry: emancipatory fervour and simultaneous despair at the violence intrinsic in liberty.     

Parting words: Trauma,silence and survival

Abstract

This article examines an enigma at the heart of Freud's work on trauma: the surprising emergence, from within the theory of the death drive, of the drive to life, a form of survival that both witnesses and turns away from the trauma in which it originates. I analyse in particular the striking juxtaposition, in Freud's founding work Beyond the Pleasure Principle, of his two primary examples of trauma: the repetitive nightmares of battle suffered by the soldiers of World War I, and the game of the child, faced with the loss of its mother, who plays fort and da (there and here) with his spool. My own understanding of Freud's insight did not emerge, however, simply through a reading of his text but began, in fact, in my encounter with a real child in Atlanta, a child whose best friend was murdered in the street and who is interviewed by the friend's mother. I thus read together the language of the nightmare and the language of the child in Freud's text, and then attempt to understand how Freud's text and the language of the real child shed light upon each other.     

The reproduction of culture and personality: Critique of Christopher Lasch

Following in the theoretical tradition of the Frankfurt School, Christopher Lasch contends that the narcissistic personality has become the modal personality type in the United States. According to Lasch, the narcissistic personality is nurtured in the contemporary nuclear family and sustained by a culture that promotes immediate gratification and a preoccupation with the self.

The central aim of this paper is to critically analyze Lasch's argument. The paper will show that Lasch's perspective rests on the unfounded psychoanalytic assumption that the adult personality is crystallized during childhood socialization and remains largely resistant to change. It will further be shown that Lasch's Freudianism is at odds with his Marxist politics, and that his conceptualization of culture and personality rests upon a functionalist bias in his theoretical perspective. The conclusion of this paper is that Lasch does not provide any reliable evidence for the existence of a narcissistic personality type in contemporary America.     

Moses and nation-building Zora Neale Hurston's Moses,Man of the Mountain and Edward Said's Freud and the Non-European

Abstract

This article examines the significance of the representation of Moses as an Egyptian in Zora Neale Hurston's Moses, Man of the Mountain and Edward Said's Freud and the Non-European. Pairing Hurston and Said continues Said's project of seeing authors 'contrapuntally', so exposing imperialism as a neglected, if submerged, context for Hurston's response to nationalism in Moses. I argue that Hurston's novel cannot be read as a straightforward critique of race-based nationalism. Although Moses is of a different ethnic group to the Hebrews he leads, Hurston's portrayal of his rule is haunted by imperialism, in which one ethnic group exploits another. In this sense, Moses, Man of the Mountain bears the signs and strains of her struggle against racialist thinking.     

Women's self‐defense and sexual assault resistance: The state of the field

Public attention to sexual assault has increased dramatically over the last decade, spurring questions about how it can be prevented. One approach that has received scant attention is women's self‐defense training (sometimes known as sexual assault resistance training). This neglect is curious because empowerment‐based women's self‐defense (ESD) training is so far the only approach that has produced substantively significant decreases in victimization rates. In this article, I review the research evidence on women's self‐defense training. Does resisting a sexual assault affect the outcome of sexual violence? Does self‐defense training further reduce women's risk of violence? What are the other consequences of self‐defense training? How does self‐defense work for different groups of women—for example, those who have survived prior victimizations? Are the critiques of women's self‐defense training valid? Finally, what do we still need to learn about women's self‐defense? Overall, I argue that this evidence presents a compelling case that women's self‐defense training should be central to any efforts to prevent sexual violence.     

Patriarchy and incest in William Faulkner's 'Absalom! Absalom!' and Juan Rulfo's 'Pedro Páramo'

Abstract

This article presents a comparative analysis of patriarchy and incest in the work of William Faulkner and Juan Rulfo. Focusing primarily on Absalom! Absalom! and Pedro Páramo, I argue that Rulfo adopts and, at the same time, interrogates Faulkner's patriarchal model of the family: the incestuous relationships that characterize Absalom! Absalom! reappear, under different disguises, in the Mexican writer's novel. My analysis also suggests that both Faulkner and Rulfo were intrigued by the symbolic implications of incest, and exploited these implications in order to talk about the collapse of the patriarchal and cultural order in the post-Civil War South and early 20th century Mexico respectively. The conclusion maintains that, despite Rulfo's reluctance to acknowledge Faulkner's impact on his artistic consciousness, the intertextual dialogue between the two writers should be read both as a form of incest, and as a quest for a new social structure.     

Loudness registers: Normalizing cosmopolitan identities in a narrative of ethnic othering

An analysis of one narrative shows how loudness of voice acquires indexical meaning in interaction and becomes a resource for the narrator to position himself along an axis of social differentiation defined in terms of morality. The narrative was collected among young, male, migrant hip hop artists in Delhi who experienced ethnic othering. In the narrative, loudness registers are used to establish voice contrasts between two antagonistic characters: the racist people of Delhi and the cosmopolitan hip hop self. The racist people speak in soft (piano) and loud (forte) registers, while the cosmopolitan self speaks in normal‐volume registers. The prosodic normalization of the self allows the narrator to differentiate himself from racist others, take moral stances on global solidarity, and construct his cosmopolitan identity.     

An Interpretation of the Occult Symbolism in Mikhail Bulgakov's The Master and Margarita

Abstract

Much of the extensive scholarly criticism on The Master and Margarita has focused on Bulgakov's 'cosmology' and how the events of the novel can be seen as a mirror of his world view. In particular, The Master and Margarita is often seen as a literary exposition of a Gnostic outlook. The overwhelming tendency of many studies is to look for a 'key' which can unlock the riddles in the novel and answer some of the more difficult questions pertaining to developments in the plot. This often means that the book is approached from the outside. In contrast, I have tried to look at it from the inside out, and ask how the imagery and symbolism in the book can help answer some of these questions and reveal clues as to Bulgakov's intentions and world view. The fact that much of the symbolism in the book is drawn from Goethe, witchcraft and black magic has been noted — but not that this occult symbolism runs much deeper to include, for example, Masonic and alchemical motifs. As well as exposing this particular layer of symbolism, I have examined how it points to Bulgakov's belief in the importance and need of a spiritual 're-birth' both for individuals and for Russia itself; and that the secret to regeneration lies in the power of such an inner journey.     

A still,small voice: Letter‐writing,testimony and the project of address in Etty Hillesum's letters from Westerbork

Abstract

This paper derives from an exploration of the ways in which the letters of Holocaust writer Etty Hillesum, which are seemingly resistant to many of the interests of current trauma theory, can be read in relation to contemporary writing on testimonial. In particular, the three theorists I shall discuss here, Derrida, Caruth and Irigaray, directly address Freud's Beyond the Pleasure Principle, a central text in the current refiguring of trauma. This paper traces the ways in which Hillesum's letters can be read across the theoretical accounts. An interpretation of Hillesum's writing emerges in which the conventional emphasis on the mystical aspect of her texts is reinterpreted in terms of Caruth's emphasis on the life drive. Viewed as forging a creative language of departure, Hillesum's letters are situated in a central relation to the most recent developments in the theoretical discourse around testimony.     

‘The letting go’: the horror of being orphaned in Nicolas Winding Refn’s cinema

In this article, I read the recent cinema of the Danish-American Director Nicolas Winding Refn through a contradictory complex of Freudian–Jungian psychoanalysis, Bataillean philosophy and Buddhist thought. By focusing on Winding Refn’s three most recent films, Drive, Only God Forgives and The Neon Demon, I explore his representation of what I call the horror of contemporary orphan identity, and show how he contrasts this with a mystical sense of wholeness and unity comparable to that which appears in the works of Jung, Bataille and before both of these writers, Buddhist philosophy. Beyond the lonely figure of the orphan, who we also find outlined in Jung’s work on child archetypes, Winding Refn constructs a nightmarish dystopia, the post-modern city, which is characterised by violence, objectification and estrangement. Inside this complex, Winding Refn tells the story of the destroyed self of the lonely orphan lost in post-modern urban space, and considers possible futures for this abandoned, exposed, desperate individual. It is this story of loneliness, abandonment and tragic attempts to escape from the pain of loss which I explore in this article by first, exploring the ways in which Drive exposes the horror of the orphan in contemporary Los Angeles and captures the terror of the self endlessly on the run; second, reading Only God Forgives in terms of an attempt to think through possible escape from the desperate condition of the orphan by taking up Buddhist philosophy and images of the ritualistic destruction of the self; and finally thinking about the way The Neon Demon opposes these two positions in a psycho-politics of on the one hand desperate self-making and on the other hand the Buddhist non-self and cosmological escapism.     

Mother Died Today or Maybe Yesterday: Reflections of L'etranger on Team‐Based Forms of Work Organization

One of the most enduring images of late twentieth‐century popular culture was the individualist and iconoclastic portrayal of the ‘grumpy old man’ Victor Meldrew in the BBC television series One Foot in the Grave. Richard Wilson's portrayal of the recently retired security worker is the antithesis of everything that contemporary organizations require from the idealized vision of employee as ‘team‐player’. As one who revels in the way that the epitaph ‘Victor’ is thrown at me at regular intervals both by my partner and children, at times when I think I am behaving normally, I thought it would be interesting for me to reflect, in public, on my relationship to contemporary workplace relations. It is my contention that Meldrew's characterization is not wholly based around the age dimension but is equally based upon his portrayal as an individual ill at ease with the mores of gregariousness. The essay therefore is a self‐reflective piece in which the author places himself in a particular milieu—that of L'etranger and uses this ‘placing’ in order to discuss the relationship between what he defines as ‘the outsider’ and the issue of age discrimination in contemporary blue‐collar environments. It is suggested that whilst the outsider or L'etranger is accepted under certain conditions within the managerial labour process this same level of organizational tolerance is not afforded to older workers within blue‐collar areas. It moves from a reflective, even autodidactic exploration of the relationship between the author and cultural articulations of L'etranger and uses this to inform an analysis of the acceptance of L'etranger within some aspects of the managerial labour within team based manufacturing units. In exploring these issues the essay then attempts to develop a third narrative in terms of now L'etranger, approaching the age of retirement fits in to the new academic labour process.     

Family Social Work: The Past and the Present

SUMMARY

It is easy to blame the dysfunction of a family member on his or her behavioral patterns. I use the title, “It's the Relationship, Stupid!” not to talk down to family therapists, but to remind myself that the source of dysfunction is usually family relationships, especially the marriage relationship. This article gives several case studies for practical application of therapy techniques that focus on developing the “WE” of the family unit. One practical technique that I developed is a communication typology. The married couple (and family members) are divided into “Painters” and “Pointers.” This typology explains much of the conflict and mis-communication that leads to the breakdown of the “WE.” This article also presents dysfunction within the individual as a relationship problem and introduces the concept of the “spirit” of the individual as expressing the relationship the person has with self.     

Couch the Bricoleur: Using Ethnographic and Laboratory Traditions to Establish Data Careers

Carl Couch reinvigorated the Iowa School of Symbolic Interaction by combining the theoretical and methodological tenets of ethnography and laboratory science. He thus resembled a bricoleur, or researcher who masters several seemingly diverse practices in order to create a seamless whole. Couch's new Iowa School also produced a bricolage, or a sum total of research findings, that I call a data career. This article pays tribute to Couch the bricoleur and his bricolage by elaborating on his data career and discussing how he created ethnographies in the laboratory. I further link the notions of bricoleur, data careers, and ethnographies in the laboratory with Couch's democratic vision. I contextualize this vision in light of a particular representative-constituent study (RCS) which served as a metaphor for Couch's pragmatic outlook.     

Truth,lies, and racial consequences in Ernest Hemingway's True at First Light: A Fictional Memoir

Abstract

This article examines Ernest Hemingway's posthumously published novel True at First Light: A Fictional Memoir, by relating the author's vision of the role of Africa in the literary imagination to issues the novel raises for postcolonial cultural and historical criticism. Analyzing the novel's narrative, which draws upon Hemingway's second safari to Kenya in 1953–4, offers insight into Hemingway's 'African American' consciousness, and the new awareness that he was able substantively to arrive at for the first time in this novel, less than 10 years before his death. This awareness inaugurated what might be called a fictional reverse migration, whereby Hemingway reconnects with the black native perspective on Africa that he encountered on his first safari in 1933–4, in order to acquire material insight into what blacks were experiencing in America at the time of his second safari. Identifying this awareness also leads to the possibility of (re)reading Hemingway's racial perspective in his earlier works with African settings.     

Home of the Brave,Frantz Fanon and cultural pluralism

Abstract

This article examines Mark Robson's Home of the Brave (1949, USA), a Hollywood social problem drama about anti-black racism, and the brief but vivid response to the film presented in Frantz Fanon's Black Skin, White Masks (1952). Fanon enables a rethinking of some of the film's most central assumptions and the discourses upon which the story relies. At the same time, Fanon's response conveys information about his own biography and his perspectives on cultural representation generally. The article examines the film as a document that reveals competing claims about anti-black racism and, through Fanon's commentary, revisits the relationship between cultural pluralism and racial ideologies in the mid-20th century USA. The article explores the nature of Fanon's anti-racist commentary on the film as a form of 'cultural studies' that offers transnational historical insight and simultaneously provides ways of re-examining the national specificity of race thinking.     

Understanding Georg Simmel

Abstract

This paper makes two basic claims. First, Simmel was aware of the Als-Ob (“As-If”) before Vaihinger published his Die Philosophie des Als-Ob (The Philosophy of As-If) (Vaihinger, 1911 [1935]), and he used the As-If in his epistemology of the social sciences. It is difficult to understand Simmel's sociology without recognizing the role of the As-If. However, this essential part of Simmel's epistemology of the social sciences almost has gone unreported in the standard literature. Second, Simmel formulated a concept of relativity. This concept, too, is an important part of his epistemology, yet it is not understood well. Only through an appreciation of his view of relativity can Simmel's concept Wechselwirkung (usually translated as “reciprocal interaction” but more exactly translated as “reciprocal effect”) be interpreted properly. Without an understanding of his concept of relativity Simmel's form-content relation does not convey the sense intended. This paper demonstrates that the form-content relation as used by Simmel is, in current terminology, the theory-model relation. Finally, use is made of my explication of Simmel's epistemology to clarify some relations between Simmel's ideas and Durkheim's position.     

A.I. Solzhenitsyn Selected Bibliography December 1962 - October 1970

Critics have noted similarities between Nikolai Gogol'’s three early horror stories (Vecher nakanune Ivana Kupala [St. John’s Eve], Strashnaia mest' [A Terrible Vengeance] Vii) and the works of his famous German predecessor Ludwig Tieck. There also exists some speculation concerning the relationship between his Ukrainian tales and the works of E.T.A. Hoffmann. However, a detailed comparison between the two authors focused only on Gogol'’s “St. Petersburg” stories. His early tales have been ignored because they were presumed to depend mostly on folklore. This article argues that there are intertextual connections between Gogol'’s St. John’s Eve and A Terrible Vengeance, and Hoffmann’s Der Sandmann [The Sandman] and Ignaz Denner. The paper contends that Gogol' was recapitulating, consciously or unconsciously, Hoffmann’s oeuvre in his works both in terms of plot detail and on a deeper psychological level.