The article aims at addressing the question of representations of World War Two in Croatian and Serbian literature that were subversive in the sense that they queried the legend not simply by rejecting communism and affirming nationalism, but by emphasizing the uncertainty and sensibility of the human beings, a typical modern reaction to violence and, in general, modernist topoi. In this article I will focus on modernist novelistic representations of the 1960s in which the uncertainty and instability of collective warrants (...) are foregrounded. As a result a subversive meaning is produced which contradicts not only communism and revolution but more generally war as such, including the universal features of war such as confronting loneliness, love as an expression of an individual rather than a collective sense of existence, and the impossibility of a valid representation of past events. (shrink)

In this paper, the scope of Roman attitudes towards warfare is examined through an analysis of Roman artwork and inscriptions in victory monuments. Due to the integral nature of warfare to Roman society, the portrayal of victorious campaigns was essential to the maintenance of the Roman perception of their own indomitable nature. This paper argues that this inherent reinforcing of Roman attitudes was especially important in the wake of the various civil wars and related disputes of the last century of (...) the Republic, and undertakes this analysis with a special emphasis on the portrayal of the conquered to examine the subtleties of perspective towards Roman warfare. (shrink)

Using the perspective of phenomenological-enactive embodied cognition, this paper examines the role of the body in constituting specific social interactions via specific media ecologies (war imagery) during the times of (refugee) crisis. Such media ecologies give affordances that can amplify social beliefs and turn subjective judgments into an intersubjective action. We consider the human body in relation to war media as playing an important role in sustaining social experiences and relations. To that end, the article explores the fundamental experience (...) of empathy, combining the theoretical perspectives of phenomenology and enactivism with the examples from war imagery and refugee embodiment. It is shown that the classical phenomenological tradition offers different yet useful conceptualisations of empathy. We also argue that war images and/or messages should be viewed as means/tools for, rather than representations of, the enaction of certain important experiences. Hence, the article connects the analysis of the affection by war imagery with the subsequent social interactions in the context of refugee crisis. (shrink)

The article focuses on the politics of representation in Kosova since the United Nations took over ‘peace management’ in 1999. It uses UN propaganda posters (political pedagogy) and local nationalist political advertising as a way to read the multiple gendered discourses of representation. It shows how gender is used relationally between competing forces – the ‘international community’ and nationalists – as a tool to ensure UN's imposition of Western policies and norms and as a mechanism for local politicians to consolidate (...) their domination of the domestic/private sphere. Moreover, it discusses the price paid to mimic the West: how Kosovar politicians have sought to ‘undo’ national identity in favour of a Western self-representation through a gendered abnegation of Islam. Thus, as an intrinsic part of the discourse of ‘peace-building’, these images represent the site of power production, domination, negotiation, and rejection, involving the collaboration of different actors, institutions, and individuals. Three specific points will be made: first, the article seeks to show that a Western political modernization discourse has, paradoxically, reinforced patriarchal relations of power and traditional gender roles in Kosova through the subjugation of women. Second, it explains the inability to resolve competing Albanian narratives – one relying on the legacy of peaceful resistance and the other on the armed struggle against Serbian domination during the 1990s. Third, through the intermeshing of international peace-keepers and local nationalist patriarchs, it will show how the militarization of culture is perpetuated through, and in relationship to, gender. (shrink)

This article examines contemporary representations of sakura (cherry blossom) in cosmetics marketing. Since the Heian period, sakura has been loved and regarded as having tangible and metaphorical significance in Japan. Imagery of sakura is rich in ambiguity and has a complex history as evident in its use in the militaristic promotion of heroism, especially related to the Second World War. However, in recent decades, sakura imagery has proliferated across a range of popular culture both inside and out of (...) Japan. In this article we focus on the circulation and meanings of sakura imagery accessible and appropriated in Australia with specific attention to cosmetics. Sakura offers not only aesthetic pleasure but also potentially some health benefits. Our discussion draws on data from surveys and interviews with participants in Australia about their perspectives of sakura aesthetics related to colour symbolism. This is accompanied by close analysis of colour symbolism in recent perfume, skincare and cosmetic marketing, branding and packaging which use sakura imagery. We argue that, using the complex symbolism associated with the wide colour spectrum, sakura imagery has now been refashioned as a versatile promotional tool in the global market, as exemplified by the brand engagement of sakura-themed cosmetics. (shrink)

What do we know about war crimes and justice? What are the discursive practices through which the dominant images of war crimes, atrocity and justice are understood? In this wide ranging text, Michael J. Shapiro contrasts the justice-related imagery of the war crimes trial with?literary justice?: representations in literature, film, and biographical testimony, raising questions about atrocities and justice that juridical proceedings exclude. By engaging with the ambiguities exposed by the artistic and experiential genres, reading them alongside policy and (...) archival documentation and critical theoretical discourses, Shapiro?s War Crimes, Atrocity, and Justice challenges traditional notions of?responsibility? in juridical settings. His comparative readings instead encourage a focus on the conditions of possibility for war crimes as they arise from the actions of states, non-state agencies and individuals involved in arms trading, peace keeping, sex trafficking, and law enforcement and adjudication. Theory springs to life as Shapiro draws on examples from legal discourse, literature, media, film, and television, to build a nuanced picture of politics and the problem of justice. It will be of great interest to students of film and media, literature, cultural studies, contemporary philosophy and political science. (shrink)

What do we know about war crimes and justice? What are the discursive practices through which the dominant images of war crimes, atrocity and justice are understood? In this wide ranging text, Michael J. Shapiro contrasts the justice-related imagery of the war crimes trial with literary justice: representations in literature, film, and biographical testimony, raising questions about atrocities and justice that juridical proceedings exclude. By engaging with the ambiguities exposed by the artistic and experiential genres, reading them alongside policy (...) and archival documentation and critical theoretical discourses, Shapiros War Crimes, Atrocity, and Justice challenges traditional notions of responsibility in juridical settings. His comparative readings instead encourage a focus on the conditions of possibility for war crimes as they arise from the actions of states, non-state agencies and individuals involved in arms trading, peace keeping, sex trafficking, and law enforcement and adjudication. Theory springs to life as Shapiro draws on examples from legal discourse, literature, media, film, and television, to build a nuanced picture of politics and the problem of justice. It will be of great interest to students of film and media, literature, cultural studies, contemporary philosophy and political science. (shrink)

This essay traces the recent history of 3D satellite animation from its military origins to its visibility in the civic sphere. Specifically, technologies unveiled in 2004 as Google Earth first received widespread public visibility in the television coverage of the 2003 U.S. invasion of Iraq. The essay first maps the political economy of the “military-media-geotech” complex, focusing mainly on the coverage of the Iraq War as an nexus of interests. Second, the essay analyzes the aesthetic uses of 3D satellite animation (...) on the news during this period, including how these imaging practices meshed with existing discourses such as the clean war, the weaponization of the civic gaze, and others. The essay concludes with thoughts regarding what these practices mean for the efficacy of the deliberative citizen, public life, and the meaning of war. (shrink)

The destruction of the Egyptian army in the Book of Exodus is the primary story of salvation for Israel; God is the chief combatant in this story. "Yahweh is a warrior!" So goes the victory hymn in Exodus 15:3 after the annihilation of the enemy by Yahweh, marking the importance held by this show of divine power. This unleashing of divine power and its militaristic imagery has long caught the attention of scholars as starkly nationalistic. Thomas B. Dozeman furthers (...) this study by addressing the theological problem of divine power in the Exodus story and, by extension, the Judeo-Christian attempt to deify nationalism by calling its wars holy. He interprets Exodus as liturgy, the Day of Yahweh, celebrating God's defeat of Pharaoh and the ultimate ascendancy of Israelite authority. This liturgy, though, did not remain static, but changed as the national experience of exile changed the practice of Israelite worship. An isolated event evolved into an extended account of salvation history, in which the life of faith becomes a wilderness march to the promised land. Dozeman traces how revisionary embellishments in the plot structure and characters of the Exodus story reflected the new understanding of divine power. By combining literary and historical interpretation this study offers the first serious inquiry into the idea of divine power, and makes a major contribution to resurgent research on the Pentateuch as a whole. No scholar concerned with biblical historiography and its justification of holy wars can afford to ignore this book. (shrink)

This study examines the character and imagery of the apocalyptic visions of a rural evangelist in Korea at the end of the Second World War. Pak Tonggi, a charismatic figure who founded a millennarian movement called the Empire of Mount Sion, experienced five major visions which shaped both his ministry and his understanding of world history. This article examines these visions and compares them with the form and motifs of apocalyptic visions recorded in the Old and New Testaments. While (...) Pak’s visions owe much to the ethos of the Biblical visions, their precise content and imagery are seen to be very ‘local’. (shrink)

Studies document that in wartime, states often employ maternal imagery and mobilize women as mothers.Yet we know relatively little about when and why states and their opposition do so. This study seeks to build theory for this phenomenon through frame analysis of the Nicaraguan Contra War. The author proposes that maternal framing, aimed at mothers as well as a broader national and international audience, benefits militaries in at least three ways: channeling maternal grievances, disseminating propaganda through “apolitical” mothers, and (...) evoking emotions and sympathy nationally and internationally. This study furthermore explores three underexamined features of both gendered studies of war and frame analysis: It applies frame theory to states, it develops our understanding of crossnational gendered framing strategies, and it introduces gender framing to the study of war. (shrink)

While it is no secret that Valerius Flaccus’Argonauticaexplores civil-war themes at great length, the conflicts arising on the island of Peuce between the Colchians and the Argonauts and within the Argonautic party itself in the epic's final book (8.217–467) have been overlooked in critical studies of Valerian civil war. This article argues that Valerius presents the conflicts on Peuce as examples of civil war—emphasizing the bonds of kinship between the conflicting parties and illustrating effects of this discord using imagery (...) of stasis and cosmic dissolution associated with civil war in the wider Latin literary tradition—and thus invites reflection on the development and manifestation of internecine strife within theArgonautica. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:After the Smoke Clears: The Just War Tradition and Post-War JusticeAnna Floerke ScheidAfter the Smoke Clears: The Just War Tradition and Post-War Justice Mark J. Allman and Tobias L. Winright Maryknoll, N.Y.: Orbis Books, 2010. 220 pp. $20.00Beginning with Ezekiel’s imagery of a field filled with dry bones in the aftermath of war, Mark J. Allman and Tobias L. Winright approach the burgeoning question of how best (...) to establish a just peace following violent conflict. As theologians committed to the Christian tradition’s emphasis on restoring peace following warfare, their project develops jus post bellum categories that have thus far been considered more by philosophers, political scientists, and international law scholars than by theologians. The authors see themselves as extending the work of Glen Stassen and other just peacemaking theorists. Where just peacemaking provides theologically rooted criteria for jus ante bellum, Allman and Winright want to root theologically jus post bellum. “We believe that expanding the just war tradition to encompass jus post bellum will actually ‘close the loop’ or make for a more honest just war theory by bringing us back to the practices of just peacemaking” (55–56).The book is presented in two parts. The first part offers an overview of the history of the just war tradition and of the emerging discussion of jus post bellum. Despite its brevity, a key strength of this overview is its comprehensiveness. Allman and Winright illustrate the tradition’s roots in Hellenistic philosophy, its development by patristic and medieval theologians, and finally its adoption in the secular sphere. The authors then uncover nascent elements of jus post bellum throughout the just war tradition. Here they pay particular attention to Immanuel Kant before turning to contemporary philosophers, including perhaps the most well-known jus post bellum theorist, Brian Orend, with whom the authors dialogue extensively in the second part.The second part constitutes the book’s major constructive contribution to the theological ethics of warfare and conflict resolution. The authors posit four “categories” that they argue are “consistent with the Christian just war tradition” and necessary for a just peace following war (85). First, they contend that the just cause, which prompts the war, must be reconsidered jus post bellum. “The logic is simple and clear: the end of a just war must be accomplishing the objectives that served as the grounds for going to war in the first place” (100). Second, the authors explore the need for postconflict reconciliation, arguing [End Page 223] for restorative forms of justice alongside retributive forms. This chapter would benefit from more extensive dialogue with theologians such as John de Gruchy, Robert Schreiter, and Charles Villa-Vicencio, who have devoted themselves to the topics of reconciliation and restorative justice from the Christian perspective. Third, the authors discuss the value of punishment in establishing justice. Their discussion of the symbolic importance of reparations is especially insightful. The authors suggest that “reparations require a reversal of power. Those who once were dominant are now in a submissive/vulnerable position” in relation to those who were once powerless (130). Finally, the authors propose a “restoration phase” following warfare wherein basic security must be established and political reforms enacted to preclude any return to the status quo ante bellum. The victors must ensure the economic recovery of the vanquished; provide for the needs of the war’s most vulnerable victims, such as children; and clean up environmental hazards that resulted from fighting.The book is most impressive in that it conjoins multiple postconflict endeavors (e.g., reconciliation and war crimes tribunals) that are frequently separated or seen as oppositional in other literature. This strength indicates that the book may continue to yield serious contributions to the ethics of conflict resolution, especially as scholars accept the authors’ challenge to “develop and further refine” the categories they propose.Anna Floerke ScheidDuquesne UniversityCopyright © 2012 The Society of Christian Ethics... (shrink)

Based on the 〉patchwork〈 as a concept of (political) heterarchy, the paper explores the formal and medial space of M. Brady's collaged group portrait of the 36th US-Senate and House of Representatives (1859). Poised between unity and decomposition, the image constitutes a congenial map of American politics, its specific relationism and 〉proximal distances.〈 However, Brady's subsequent work sees this lose patchwork disintegrate during the Civil War and then solidify under Lincoln's paternal rule.

Abstract:Whatever the technology, whatever the age, geophonic, biophonic, and anthro-pophonic soundscapes are a wholesale part of the sensory experience of warfare, and this essay considers how representations of sound in the Iliad attempt to capture through attunement to aural sensory perception the extreme phenomenological experiences of warfare for individuals, communities, landscapes, and nations. Much attention has been given to the visual imagery in the Iliad, some attention to the acoustic poetics of the Iliad, but very little to representations of (...) sound as they relate to both the physical environment and the phenomenological experience of war. I argue here that representations of geophonic and biophonic sound in the Iliad frequently serve to contrast both anthrophony and the devastational impact of anthropogenic agency, and that this impact extends to the environmental. (shrink)

Based on the ›patchwork‹ as a concept of (political) heterarchy, the paper explores the formal and medial space of M. Brady’s collaged group portrait of the 36th US-Senate and House of Representatives (1859). Poised between unity and decomposition, the image constitutes a congenial map of American politics, its specific relationism and ›proximal distances.‹ However, Brady’s subsequent work sees this lose patchwork disintegrate during the Civil War and then solidify under Lincoln’s paternal rule.

The rich body of understudied imagery constituting the culture of satire in pre-World War I Paris represents the work of scores of contributing artists, ranging from mockery of manners to biting critique of government policy. While František Kupka is recognized as a major Parisian contributor to the development of modernism and abstraction, his career as a satirist has been sidelined. In 1900, Kupka wrote to his friend the Czech poet Josef S. Machar that he would devote himself in future (...) mainly to lithography and graphics as these media are more "democratic". Kupka published scores of cartoons in France in the prewar period and was recognized at the time as a leading satirist. Here I explore his work... (shrink)

Martin Luther King, Jr.’s anti-war speech, “Beyond Vietnam,” is a noteworthy example of deliberation by dissent from the margins. Attention is given to the formation of his moral argument from similitude, its foundation in metaphor and archetypal imagery, and how it shifted perspective to enable the introduction of alternative lines of argument. King’s argumentation, as it worked rhetorically toward making the war debatable, exhibited key features of deliberative dissent, including catachresis, contingency, perspective, and incommensurability.

This critical reading/dialogue follows a straightforward structure. Firstly, it presents some of the major insights in J.D. Crossan’s book, attending to its inner logic on his critique on the violence which little by little creeps into the biblical texts. Secondly, it engages in a critique of his reading of Revelation, which is Crossan’s starting point for his discussion on violence. He observes here a direct contradiction with the Jesus of history, centre of interpretation for Scripture. This article points to certain (...) lacunae in his reading of Revelation and, finally, moves to a conclusion offering new ways to interpret and question Revelation’s violent imagery within its own literary context.Contribution: This article is a critical dialogue with one of J.D. Crossan’s latest books: How to Read the Bible and Still Be a Christian: Struggling with Divine Violence From Genesis Through Revelation. This is a vibrant and insightful book about how violence ultimately crept into the canonical texts, tainting even its ‘good news’. Crossan’s concern with this crude violence surfaces as he teaches different groups and he is asked why the Bible ends in Revelation on such a violent note, essentially with ‘a war to end all wars’, somehow buttressing the ‘myth of redemptive violence’. The special focus of this article resides thus on a nuanced reading of Revelation which tries to understand, in context, the function of such violent images. (shrink)

From Detroit Red to El-Hajj Malik El-Shabazz, the man best known as Malcolm X restlessly redefined himself throughout a controversial life. His transformations have appeared repeatedly in books, photographs, paintings, and films, while his murder set in motion a series of tugs-of-war among journalists, biographers, artists, and his ideological champions over the interpretation of his cultural meaning. This book marks the first systematic examination of the images generated by this iconic cultural figure--images readily found on everything from T-shirts and hip-hop (...) album covers to coffee mugs. Graeme Abernethy captures both the multiplicity and global import of a person who has been framed as both villain and hero, cast by mainstream media during his lifetime as "the most feared man in American history," and elevated at his death as a heroic emblem of African American identity. As Abernethy shows, the resulting iconography of Malcolm X has shifted as profoundly as the American racial landscape itself. Abernethy explores Malcolm's visual prominence in the eras of civil rights, Black Power, and hip-hop. He analyzes this enigmatic figure's representation across a variety of media from 1960s magazines to urban murals, tracking the evolution of Malcolm's iconography from his autobiography and its radical milieu through the appearance of Spike Lee's 1992 biopic and beyond. Its remarkable gallery of illustrations includes reproductions of iconic photographs by Richard Avedon, Eve Arnold, Gordon Parks, Henri Cartier-Bresson, and John Launois. Abernethy reveals that Malcolm X himself was keenly aware of the power of imagery to redefine identity and worked tirelessly to shape how he was represented to the public. His theoretical grasp of what he termed "the science of imagery" enabled him both to analyze the role of representation in ideological control as well as to exploit his own image in the interests of black empowerment. This provocative work marks a startling shift from the biographical focus that has dominated Malcolm X studies, providing an up-to-date--and comprehensively illustrated--account of Malcolm's cultural afterlife, and addressing his iconography in relation to images of other major African American figures, including Martin Luther King, Jr., Angela Davis, Kanye West, and Barack Obama. Analyzing the competing interpretations behind so many images, Abernethy reveals what our lasting obsession with Malcolm X says about American culture over the last five decades. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:74 Feminist Studies 46, no. 1. © 2020 by Feminist Studies, Inc. Jennifer L. Holland “Survivors of the Abortion Holocaust”: Children and Young Adults in the Anti-Abortion Movement During the last three decades of the twentieth century, children across the United States regularly encountered adults who both hailed them as survivors of a holocaust and pleaded with them not to perpetrate one. These adults were not talking about war, (...) at least not in a traditional sense. They were talking about legal abortion. Children and young adults often heard this pitch in school presentations like one made in the mid-1970s by a California anti-abortion group, United Parents Under God, in which pictures of aborted fetuses (whose “feet will never kick a football... run on a playground... or play hopscotch”) and their imagined lost life stories were the centerpiece. Next to pictures of aborted fetuses were pictures of two prematurely born infants of color (the only people of color in the presentation) who were supposedly in danger under Roe v. Wade. With murder hovering in the air, activists asked their teen audience, “Is someone you love next?” According to these California anti-abortion activists, young people were physically and intellectually vulnerable to pro-choice views because they inhabited “atheistic” classrooms “where evil can no longer be called ‘evil.’” “You are quite literally ‘trapped’ in a completely ‘pagan’ situation in our secular society and schools and we must reach you anyway we can,” they continued. In the so-called “pro-life” worldview, liberals were brainwashing children and young people through the media, public schools, and many other institutions. Jennifer L. Holland 75 “Women’s liberal abortion speakers,” political scientists, “who typically work for the STATE” and for whom the “ends justify the means,” and new “secular-science textbooks”—all were trying to frighten teenagers to “into killing [their] OWN OFFSPRING,” activists said. Anti-abortion women, “ordinary women... who LOVE you” according to the California presentation, sought to protect children while feminist “witches... distort [ed] God’s purposes of sexuality.”1 In order to counteract what they viewed as corruption, anti-abortion activists had to wage a counter -battle, politicizing children in order to make them innocent again. In practice, that meant bringing the abortion wars—with their attendant graphic imagery and discussions of immorality, murder, and “holocausts ”—into the haven of childhood. From the movement’s early days, anti-abortion activists waged their fight in the name of innocent young people; abortion, they said, was a genocide of children. While these activists were certainly not the only US movement to use the supposed vulnerability of children to elicit public support for their cause, they also did something different. For the anti-abortion movement, children and young adults were more than just endangered innocents; they were also potential perpetrators. Young people, it seemed, were more liberal than their elders, having allegedly been reared in and indoctrinated by liberal culture. They seemed, in short, to be a potentially pro-choice generation. Thus, adult activists spoke more to and about young people at the end of the century. Adults needed young people to speak for fetuses as “Survivors of the Abortion Holocaust,” but they also needed to convert and save America through them. The anti-abortion narrative of childhood vulnerability offered the restoration of social hierarchies as a solution to the problem of abortion. It was “women’s liberal abortion speakers” and feminist “witches” who were the sources of societal indoctrination. Pro-choice women separated sex and reproduction, thus undermining women’s role in society and changing their relationships with men. More subtly, anti-abortion 1. United Parents Under God, “That They May Live: A Presentation on Abortion,” n.d., folder 1, United Parents Under God Ephemeral Materials, Wilcox Collection of Contemporary Political Movements, Kansas Collection, Kenneth Spencer Research Library, University of Kansas. This publication was probably created in the early to mid-1970s because the few citations contained within are from between 1970 and 1973. 76 Jennifer L. Holland activists—who were almost always white—mourned the loss of past racial hierarchies while also envisioning theirs as a civil rights movement. In the California presentation mentioned above, activists explicitly compared abortion to mandated... (shrink)

This essay seeks to answer the questions of which children in the contemporary world have been targeted and killed "unintentionally”or "at random" by the Brazilian State. In order to understand the place of children in this “war” we rely on the work, among others, of Achille Mbembe, Maurizio Lazzarato and Peter Pál Pelbart. Our text is structured in six sections. First, we take up the concepts of biopolitics, biopower and necropolitics, in an attempt to specify the type of governmental power (...) that is exercised nowadays. Biopower is understood, not only as a military or political concept, but also in relation to a “biological” war against blacks, against certain sexualities, against some women and against some children. We than show how the construction of the universal idea of “child” excludes children who do not belong to this representation, which is, in general, disseminated as being the only image of a child. This diffusion of a single, universal notion of “child” is made through countless discursive and audiovisual imagery, and excludes black children and all those who diverge from or “flee” the hegemonic way of representing, thinking and writing about what a child is. Finally, we verify that the dead children are black and poor and we demonstrate the importance of children's political participation in social life. (shrink)

Health metaphors are commonly used in a variety of contexts. While war metaphors are common in medicine, there are also other conceptualizations and other metaphors employed in different contexts. In policies, metaphors can play an important role in framing thought and discourse, and have an important effect, and even more so in educational policy. In this article, we analyze the two South African policies regarding HIV and AIDS in the educational context – the first policy from 1999, and the one (...) that replaced it in 2017. The focus is on identifying and categorizing the metaphors directly related to HIV and AIDS. We identified 29 such metaphors in policy 1, and 71 in policy 2, using the principles from the MIPVU, and thematic discourse analysis was used to categorize the metaphors into themes. The most prominent changes in the metaphors from policy 1 to policy 2 regard the focus of the imagery, as well as the conceptualization of HIV itself. These are then interpreted in the Southern African context. (shrink)

On the night of 12 November 1958, Walt Whitman witnessed a meteor shower which he later described in his notebook. The lines never found their way into a published piece. But when he came to write his poem about the year 1859-60, the year in which Abraham Lincoln and Stephen Douglas contested the presidency, John Brown was hanged in Virginia, and the mighty British iron steamship the Great Eastern arrived in New York on its maiden voyage, he remembered the heavenly (...) phenomenon of the year before and began his poem, “Year of meteors! brooding year!”1Brooding, indeed, because this poem, the first version of which was completed after the Civil War, is concerned with the year in which South Carolina seceded from the United States, thereby plunging the union of Whitman’s celebrations into bloody divisiveness. Yet the onset of that event is never mentioned in the poem. Rather, its imminence is expressed in the meteor imagery—the portent of human history written in the heavens, a fairly rare example of Whitman employing a traditional literary convention.Among the events of the “Year of meteors,” and seemingly the least of them, certainly the one that appears most unconnected with the “brooding,” “transient,” “strange” atmosphere invoked in the poem, is the visit Edward, Prince of Wales, paid to New York on 11 October 1860 . Whitman saw the prince’s procession, recorded it in his notebook, and introduced it, somewhat incongruously, into his poem, devoting three lines to it: And you would I sing, fair stripling! Welcome to you from me, young prince of England! [P. 239]1. Walt Whitman, “Year of Meteors ,” Leaves of Grass, ed. Sculley Bradley and Harold W. Blodgett , p. 238; all further references to Whitman’s poetry will be cited by page number from this edition and will included in the text. Larzer Ziff is Caroline Donovan Professor of English at the Johns Hopkins University. He has written several books on American culture, the most recent of which is Literary Democracy: The Declaration of Cultural Independence in America. (shrink)

This essay argues that humor can be used as an unstable weapon against oppressive language and concepts. Drawing from radical feminist Marilyn Frye, I discuss the difficulty of challenging systematic oppression from within and explore the capabilities of humor for this task. This requires expanding Cynthia Willett’s and Julie Willett’s approach to fumerism beyond affect to fully examine the work of humor in manipulating language, concepts, and imagery. For this expansion, I bring in research on feminist linguistics alongside other (...) philosophers of political humor to consider the connection between humor and world-making. I then link this with feminist world-breaking through Monique Wittig’s analysis of war machines and Trojan horses against heteropatriarchal language. Finally, I draw out the instability of humor as a war machine by investigating a bit where comedian Patti Harrison disguised herself as an official corporate brand platform to challenge the compulsory commodification of LGBTQ rights. (shrink)

ABSTRACT This article offers a new reading of Carl Schmitt and his Nazi engagement by chronologically examining the changing uses of Roman law in his Weimar and Nazi thought. I argue that Schmitt’s different ways of narrating the modern reception of Roman law disclose, first, the Nazification of his thought in the spring of 1933, and second, the partial and apologetic de-Nazification of his thinking in the 1940s. While Schmitt’s Weimar-era works are defined by a positive use of Roman (...) class='Hi'>imagery, ranging from Schmitt’s support to the Catholic Church to his endorsement of Benito Mussolini’s ‘total state’ in Italy, Schmitt’s Nazi writings from 1933 to 1936 describe the reception of Roman law as an anti-German virus that must be overcome by the Nazi movement. This shift mirrors Schmitt’s transformation from an authoritarian thinker sympathetic to Italian Fascism into a devoted Nazi. However, once Schmitt begins to see that Germany will lose World War II, he recalibrates his position. While Schmitt’s earlier Nazi writings offered a negative estimation of the historical school of Friedrich Carl von Savigny, in his 1943/44 book on European legal science, Schmitt portrays Savigny as the paradigmatic European, whose work opens the path for a renewed legal science. (shrink)

Marcus Aurelius, Roman emperor from 161 to 180 A.D., is renowned for his just rule and long frontier wars. But his lasting fame rests on his Meditations, a bedside book of reflections and self-admonitions written during his last years, that provide unique insights into the mind of an ancient ruler and contain many passages of pungent epigram and poetic imagery. This study is designed to make the Meditations more accessible to the modern reader. Rutherford carefully explains the historical and (...) philosophical background, charts the main themes and tendencies of Marcus's thought, and relates stylistic detail to the intellectual and moral outlook of the author. His goal is to define Marcus's aims, attitudes, and styles more precisely and restore his work to the position it held in the past, that of a spiritual classic which can be read and enjoyed by people who are not professional scholars. (shrink)

This book starts from the proposition that the field of intelligence lacks any systematic ethical review, and then develops a framework based on the notion of harm and the establishment of Just Intelligence Principles. As the professional practice of intelligence collection adapts to the changing environment of the twenty-first century, many academic experts and intelligence professionals have called for a coherent ethical framework that outlines exactly when, by what means and to what ends intelligence is justified. Recent controversies, including reports (...) of abuse at Guantanamo Bay and Abu Ghraib, allegations of extraordinary rendition programmes and the ever-increasing pervasiveness of the ‘surveillance state’, have all raised concerns regarding the role of intelligence in society. As a result, there is increased debate regarding the question of whether or not intelligence collection can be carried out ethically. _The Ethics of Intelligence_ tackles this question by creating an ethical framework specifically designed for intelligence that is capable of outlining under what circumstances, if any, different intelligence collection activities are ethically permissible. The book examines three of the main collection disciplines in the field of intelligence studies: imagery intelligence, signals intelligence and human intelligence. By applying the ethical framework established at the beginning of the book to these three important intelligence collection disciplines, it is possible to better understand the ethical framework while also demonstrating its real-life applicability. This book will be of much interest to students of intelligence studies, ethics, war and conflict studies, security studies and IR. (shrink)

The formation of public opinion in different countries of the world is important for the formation of global media discourse, since ambiguous opinions are produced in the Asian media, it is worth investigating and studying the linguistic nature of journalistic methods of influencing the audience and the peculiarities of communication with readers. The study aimed to decipher the explicit and implicit linguistic techniques employed to construct political narratives in the media domains of China and Japan, while also examining existing research (...) in the realm of media language. The methodological basis of the work is analytical-synthetic, comparative, contextual and lexical-semantic analysis, which were used in a complex. In this study, the peculiarities of the media discourse of China and Japan were determined based on the analysis of the objectivity of the depiction of events related to the war in Ukraine, and an idea was formed about the characteristics of the narratives that were laid at the level of explicit and implicit meanings, decoded using the study of linguistic means. Attention is focused on the contrast between the Chinese and Japanese positions regarding the war in Ukraine in the media discourse and the peculiarities of information coverage (neutrality or stylistic marking, the choice of lexical-semantic means, the level of artistic imagery). A contextual analysis of Chinese and Japanese online newspapers, which form the modern Asian media field, was carried out, which journalistic techniques are used and which linguistic means are used to achieve the basic communicative goal. This research can be used for further linguistic investigations regarding the formation of political narratives in different regions and countries of the world, in particular regarding the war in Ukraine, conducting a comparative analysis of the rhetoric of public opinion leaders and their influence on the general media discourse. (shrink)

In the ever-expanding field of nuclear history, studies of ‘nuclear culture’ are becoming increasingly popular. Often situated within national contexts, they typically explore responses to the nuclear condition in the cultural modes of literature, art, music, theatre, film and other media, as well as nuclear imagery more generally. This paper offers a critique of current conceptions of ‘nuclear culture’, and argues that the term has little analytical coherence. It suggests that historians of ‘nuclear culture’ have tended to essentialize the (...) nuclear to the detriment of historical analysis, and that the wide variety of methodological approaches to ‘nuclear culture’ are simultaneously a strength and a more significant weakness, in that they have little shared sense of the meaning of the term, its theoretical underpinnings or its analytical purchase. The paper then offers a study of Ewan MacColl's 1946 playUranium 235, whose career reveals much about the diversity of cultures of the nuclear in post-war Britain. The study moves us away from a single, homogeneous ‘British nuclear culture’ towards a pluralistic critical history of cultural responses to nuclearization. These responses, I conclude, should be seen as collectively constitutive of the nuclear condition rather than as passive reflections of it. (shrink)

Supermax prisons are often described as "high_tech." Observers seem to mean two things by this. The first is that these "prisons within prisons" are a technology in themselves: hard_edged and brightly lit, the fortress_like supermax clearly signals its specialized purpose of isolation and control. The second is that supermax prisons rely heavily on specialized, relatively new technologies: computerized systems produce new forms of intensive surveillance while special teams armed with electronic shields maintain control over prisoners.But as Leo Marx observed several (...) years ago in this journal, "technology is a hazardous concept" . We need to see the technology of the supermax prison in these terms if we are to understand its effects. My aim here is to consider three aspects of the technology of supermax. The first is the sense in which the supermax prison is itself a "machine" _ a specific invention with a purpose and meaning closely linked to its features as a technology. This aspect is important for understanding what makes the construction of these prisons so attractive to correctional professionals and so seemingly acceptable to the general public. The second aspect is the use of specialized tools of control inside the supermax prison. These internal solutions to problems of order _ I will discuss computerized surveillance, special response teams, and stun technology _ offer clues to how specific technologies intersect with intensive confinement to frame punishment as decisive "action" produced by prisoners' "choices" and analogous to "war." Finally, supermax technology imposes specific practices and ways of being on both prisoners and prison staff. These need to be understood not only for how they augment and intensify other negative aspects of these environments, but also for their potential to affect prisoners in quite different ways depending on individual vulnerabilities.A common theme running through my discussion of each of these aspects of supermax is that the appearance of specialized technology constitutes what Garland describes, for penal practices in general, as a "signifying practice" . Beyond its immediate effects during use, supermax technology offers the cultural gloss of a "high_tech solution" that helps to frame problems _ some of them caused by supermax confinement in the first place _ largely in terms of their susceptibility to technical intervention. In other contexts "technology" signifies a "clean," profitable, scientific, and masculine approach: direct action on manageable problems. The spillover of this imagery into prisons _ in association with other meanings of crime and punishment _ is one element serving to obscure the larger issues posed by mass incarceration. As Marx points out, the reification of technology has the effect of producing an aura of inevitability. I will return to this point at the end to consider briefly how a framing of supermax primarily in terms of technology can itself be seen as hazardous. (shrink)

Beginning ca. 500 bc, the Athenians annually buried their war dead in a public cemetery and marked their graves with casualty lists. This article explores the formal and expressive content of the lists, focusing in particular on their relationship to defeat. The lists created a monumental, visual rhetoric of collective resilience and strength that capitalized on Athenian notions of manhood and exploited conceptions of shame. For most of the fifth century, the casualty lists were undecorated, austere monuments testifying to the (...) endurance of the community. When decoration began anew, the public reliefs, in contrast to private funerary reliefs, represented, through imagery and setting, struggle rather than victory. The selective remembrance and, paradoxically, frequent forgetting both enacted and enabled by the lists helped the Athenians elide internal political strife and facilitated their repeated return to the fields of war. (shrink)

The journalistic device of applying military imagery to describe business strategies is appropriate insofar as businesses implicitly base their strategies on a military model whose origins lie in Social Darwinism. What this involves is an unexamined understanding that any means may be adopted to achieve corporate objectives. Recent workforce reductions are manifestations of this understanding; but so are practices associated with mergers and acquisitions and with government-effectuated takings. Regulation, rather than being overbroad, cannot contain these corporate excesses; and social (...) pressure is an underdeveloped counterforce. Business ethics will remain futile, unfortunately, so long as its practitioners assume a peacetime state of affairs and businesses assume a state of war. (shrink)

ArgumentBy the time the members of the Surrealist group had fled Paris and dispersed at the beginning of World War II, they had taken account of quantum mechanics and were seeking various ways of assimilating its findings into Surrealist theory. This can be detected in writings issuing from the Surrealist milieu as early as the late 1920s. However, while writers and thinkers outside the field of physics swiftly expressed their awareness of the epistemological crisis brought about by quantum mechanics, Surrealism's (...) artists began to conscript the concepts and imagery of modern physics into their work only at the end of the 1930s. Focusing on two “second generation” Surrealist painters, the Chilean Roberto Matta and the Viennese Wolfgang Paalen, this article discusses the peculiar difficulties faced by artists in finding a language for the “new reality” revealed by the physicists, and argues that the relocation of Surrealism in a discursive field which includes quantum physics discloses the rationale behind its artists' shift to a semi-abstract language. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Place of Touch in the ArtsChristopher Perricone (bio)IntroductionIn Breughel's great picture, The Kermess, the dancers go round, they go round and around, the squeal and the blare and the tweedle of bagpipes, a bugle and fiddles tipping their bellies (round as the thick- sided glasses whose wash they impound) their hips and their bellies off balance to turn them. Kicking and rolling about the Fair Grounds, swinging their (...) butts, those shanks must be sound to bear up under such rollicking measures, prance as they dance In Breughel's great picture, The Kermess.1"The Dance" written by William Carlos Williams in 1944 is one of my favorites. Williams gives us a feel for that life of the kermess (a carnival) in his poem through Breughel's picture, as it were three times removed from the event itself. Of course, unlike Plato, I would argue that the vitality of the kermess is not lost in the poem; it is actually enhanced by a subtle sleight of hand. The poem is not primarily about Breughel's picture. It is about dance, about the dancers who go round, their squeal, the crude music, its rollicking measures, the dancers kicking and rolling and swinging, their hips, bellies, and butts. Reading this poem, I "see" those ordinary folk of Breughel's great picture. I "hear" their music. I "move" to their dance. The poem seems a condensation, a summary of the fine arts. Perhaps the poem is about poetry's power to reinvigorate imaginatively what we hear and see. Perhaps I think of festivities at which I have danced, how such festivities are essential to the human experience. Perhaps William Carlos Williams in 1944, World War II coming to a close, was anticipating similar good times.Tactile ValuesThe fine arts do much to educate our senses. One need only recall the many essays and books written on art, on how to look and hear, how various [End Page 90] critics draw our attention to the power of imagery and song. The well-formed visual and auditory sensations we gain from the arts are, as it were, the melody of those experiences. They are the pictures we store away, the tunes we whistle. However, here I want to draw attention to an overlooked sense—touch. I want to argue that touch is the bass line to the melody of sight and hearing in the arts, that is, that touch keeps the artwork coherent and grounded.This is an old idea. Bernhard Berenson had the idea when he was examining the painters of the Italian Renaissance. In a sense this article is a resurrection of Berenson's idea of "tactile values." Berenson was on to something both about painting and about the arts in general. However, he lacked the scientific evidence about touch and its role in human relationships needed to develop his idea of tactile values to any great extent.The idea of tactile values is first mentioned at the beginning of the essay "The Florentine Painters." Berenson is discussing the art of Giotto. However, prior to plunging into his subject, he says that we need to know what is essential to figure painting before we can appreciate its real value. What is essential are the "tactile values" we give to our retinal impressions, "a test of reality."2 Painting stimulates touch in order for it to stimulate our "tactile imagination."3 Giotto was a genius in stimulating the tactile imagination. Like other medieval masters, Giotto was a fine story teller and had great compositional skills. However, unlike Giotto, other medieval masters "never painted a figure which has artistic existence."4 Giotto's predecessors crafted "highly elaborate, very intelligible symbols, capable, indeed, of communicating something, but losing all higher value the moment the message is delivered."5 If such medieval symbols communicated anything at all, it was only some residue of what one might touch; whatever reality those symbols might have possessed was virtually eviscerated by the artists' emphasis on form and cognitive content. Giotto's predecessors were driven merely by ideas and, one might add, not altogether consistent and coherent ones. On the contrary, Giotto's work seemed to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.2 (2003) 289-290 [Access article in PDF] Monoson, S. Sara. Plato's Democratic Entanglements: Athenian Politics and the Practice of Philosophy. Princeton: Princeton University Press, 2000. Pp. 256. Cloth, $39.50. Sara Monoson is that rare exception to the rule that political theorists cannot sustain the interest of political philosophers: her training in ancient history and classical Greek gives her treatment of Plato's complicated relationship (...) to democracy a depth and richness that will repay the efforts of the most exacting of critics. The book under review has much to offer philosophers as well as historians of philosophy. Notably, Monoson answers the question, "What is democracy?" with attention to a whole constellation of "cultural practices and normative imagery" (237) constitutive of the Athenian polis, on which the narrow conception of democracy qua system of government depends. The experience of festival participation, including processions, theater, and funeral orations; multifarious opposition to tyranny; and parrhe sia, frank speech, were practices that contributed to the Athenian citizen's confidence and expectation that he should and could participate actively in the governing of his polis. One of Monoson's implicit arguments is that Platonic political philosophy is inextricably bound up with its context; thus, when we excise a Platonic "position" or argument and test its soundness, we are doing philosophy, not the history of philosophy.Monoson details the democratic practices and images that are woven into the dialogues, and she features passages others have neglected or treated as anomalous (e.g., Statesman 303a-d, Letter 7 342d), arguing convincingly that it is an unfair oversimplification to view Plato as anti-democratic, or indeed as a doctrinaire writer in any sense (133-137). Thus she does not describe Plato as simple-mindedly pro-democratic either. Rather, she does an impressive job of demonstrating just how very deeply ambivalence toward democracy runs in the dialogues, most markedly in the Republic and Gorgias,but even in the Laws. Plato was as attracted to democracy as he was wary of it, as committed to its institutions as he was apprehensive of their untoward effects.The parts of Monoson's book devoted to theater participation, frank speech, and opposition to tyranny—in relation to democracy and in Plato—are especially fine and contain a wealth of evidence that withstands scrutiny admirably. Her treatment of the funeral oration, including an interpretation of Plato's Menexenus, is less successful, but because her thesis is demonstrated without it, I need not digress from the book's virtues. Monoson's historical sections on the tyrannicides, the early Academy, and Plato's Sicilian involvement are lucid and compelling. All along in this book, one notes passages that serendipitously bear on contemporary debates and on widely shared—but controversial—interpretations of the dialogues. To take but one example from [End Page 289] what I think of as the centerpiece of the book on the realizability of the Republic's ideal city (130-133), consider the well known and variously interpreted passage suggesting how to realize the ideal the "quick and easy way": send away everyone over ten, and let the philosophers educate the remaining children (541a). The conclusion and crux of Monoson's thoughtful reply is, "I suggest we see in this passage an indication that Plato acknowledged that all governing regimes can be supported or unsettled by cultural formations. He is deeply involved here with the question of how it is that a person or people can imagine themselves out of a dominant discourse." (I should add that the book is remarkably free of jargon.) Although Monoson has given us so much so well, I am greedy to know what she makes of democracy in the Protagoras,how she views the success of sycophants after the Peloponnesian War, and how she would incorporate deme politics into her account.The deficiencies of the work as a whole are few and minor: the sole structural weakness of this excellent book is that Monoson sometimes cites, instead of evidence or argument, the judgments of others whose work... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet bells (...) with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

Harun Farocki's films make use of a category of images the director calls “operational”, a term describing images, either photographic or computer-generated, that perform or participate in tasks, usually in military or industrial settings. Treatments of Farocki's films have frequently used the notion of the operational image uncritically, and without comparing Farocki's definition of these images with existing semiotic categories. This article seeks to situate Farocki's operational imagery within a theory of visual communication, and to explore the implications of (...) automated and instrumental imagery for theories of communication in general. Abandoning the focus in much Farocki scholarship on the representative properties of operational imagery, this article focuses on the world-shaping abilities of images that are integral to war and labour. Drawing primarily on Farocki's Eye / Machine I–III series ( Auge / Maschine, 2000–2003) the article then elaborates on the ways in which the world-shaping capacity of operational images conditions human perception and action. In particular, the limitations imposed by operational images upon human actors who interact with them, or live in environments orchestrated by them, reduce the essential role played by indeterminacy and interpretation in communication. (shrink)

The article is devoted to clarifying the significance of a political performance, which acts as a theatrical communication action designed to draw society’s attention to the important problems of certain social or political groups. The purpose of the research is to establish the peculiarities of the interpretation of political performance in the paradigmatic and methodological dimensions of modern discursive democracy. The development of political performance under the conditions of the modern Russian-Ukrainian war is characterized. It was found that an important (...) task of modern political science should be considered the identification of paradigmatic dimensions (or “poles”) of analytical judgments regarding the assessment of the significance of political performances. It was emphasized that political performance acts as a postmodern alternative to the realization of the unfinished project of political modernity. The importance of political performance for the discussion of society’s problems at the political level and its dependence on a specific topic and the subjects of its application are analyzed. The importance of public discussion and manifestation as signs of broad involvement of citizens in democratic political activity is revealed. It was found that the ability to express political meaning in a theatrical form is beyond the limits of rational planning and organization. It is revealed that the functionality of political performance stems from its connection with specific social groups. It has been proven that political performances are a form that contradicts the formal procedure of expressing the will and approving the results of the discussion. It has been established that, subject to regulatory support from the state, discussions require voluntary participation and a significant level of competence. It is assumed that political performance can provide certain advantages in political competition due to the imagery and emotionality of the political message. The limited suitability of performance for promoting the values of deliberative democracy has been established, since many cases of the use of performances in the modern period are related to the defense of the right to freedom of speech. It was concluded that in the conditions of political discussions, the importance of political performance consists in creating preliminary conditions for political dialogue. (shrink)

The appearance of digital photography in the late twentieth century raised a significant challenge to the most powerful idea attached to photography in the nineteenth and most of the twentieth centuries, that it was a kind of memory and hence the source of reliable historical data. Traditional or analogue photographs were assumed to be reliable records of the past simply by virtue of being photographs, the products of a physical process governed by laws of optics and chemistry. The photograph was (...) taken on the word of science and on faith as a reflex of a determinate process. With its ability to generate images and imagery from within itself, the programs it draws upon, digital photography erodes confidence that its images are actual memories. A new condition of post-photography seems already in place. It is an opportune moment to reexamine key sources of the idea of photography as memory and as history. As an example of this major cultural idea at work in the construction of specific cultural memories, the traditional idea of photography as "light writing" can be seen as playing a profound and decisive role in how the American Civil War has been remembered and understood. Those memories have been fundamental to conceptions of nation and nationality in the U. S., and should be taken into serious account in any critique of memories steeped in photographic versions of the past. (shrink)

Rather than isolate Achilles' prayer to Zeus in Book 16 of the "Iliad" from its immediate context, this paper analyzes the passage as an integrated whole. Recent work on the Homeric simile shows that Homer links images by an "associative technique," sometimes in the service of characterization. Additionally, Phillip Stambovsky's study of literary imagery suggests that such imagery often contributes to characterization insofar as it "presentationally depicts" important themes of the literary work. I argue that indeed the (...) class='Hi'>imagery in the passage of Achilles' prayer dramatizes a great theme connected with his characterization: his indecision between desire for warfare and desire for safety. The elements of the passage repeatedly refigure Achilles' dissonant state of mind. The wolf simile, for example, opposes pure and defiled, to point proleptically to the combat that destroys Patroclus after Achilles dispatches him, the very outcome Achilles wishes to avert through ritual and prayer. The Myrmidon catalogue juxtaposes its first two entries, those of Menesthios and Eudoros, to highlight Eudoros' lack of a human father and alienation from his mother, a scenario which recalls Achilles' experience. Thus the catalogue reconstitutes in a separate fiction Achilles' own personal history in order to expose the sources of conflict there. Finally, the wasp simile, when contextualized according to the characterization of Achilles, also figures oppositions like those Achilles enacts when he urges on the war while at the same time seeking to mitigate its violence. The passage's imagery is itself a vivid narrative depicting Achilles' strenuous attempt to resist the violence of heroic combat as well as his own imminent death within it. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dharma Bums: The Beat Generation and the Making of Countercultural PilgrimageP. J. JohnstonI believe in the sweetness of Jesus And Buddha— I believe, In St. Francis, Avaloki Tesvara, the Saints Of First Century India A D And Scholars Santidevan And Otherwise Santayanan Everywhere.(Kerouac 1959: 15)Preliminary Polemics“PILGRIM, n. A traveler that is taken seriously.”—Ambrose Bierce, The Devil’s Dictionary 2007: 133As Beat commentator Stephen Prothero describes in his article “On the (...) Holy Road: The Beat Movement as Spiritual Protest” (1991), the Beats and their pilgrimages have most emphatically not been taken seriously. Both critics and scholars have been unkind to members of the Beat generation, and this unkindness has manifested itself in relative neglect of the Beats in all possible aspects of scholarly investigation. But nowhere does this appear more pronounced than in the area of Beat religion. Though some recent scholarship has been picking up from this earlier neglect and it is now [End Page 165] possible to find serious biographies of most of the major Beat writers and some belated attention to the movement as a literary phenomenon, the only book-length treatment of Beat Buddhism I was able to locate (Tonkinson 1995) hardly qualifies as a scholarly work and was published not by an academic press but as a special feature of the Buddhist magazine Tricycle. Prothero hypothesizes that this is because of the movement’s reputation as rebellious and antinomian—in its heyday the movement was characterized in identical unsavory terms by publications representing interests as diverse as Life and Playboy, with the latter describing the Beats as “nihilists” and the former claiming that the Beats were at war with “Mom, Dad, Politics, Marriage, the Savings Bank, Organized Religion, Literary Elegance, Law, the Ivy League Suit and Higher Education, to say nothing of the Automatic Dishwasher, the Cellophane-wrapped Soda Cracker, the Split-Level House and the clean, or peace-provoking H-bomb” (Prothero 1991: 206). Norman Podhoretz of Partisan Review went further still, claiming that the Beats were “hostile to civilization” and that the movement as a whole amounted to “a revolt of the spiritually underprivileged and crippled of soul” and “an affirmation of death” (ibid., 206). One couldn’t ask for a more passionate disavowal of the Beats or a more thorough polemic that the movement was profoundly antireligious.This could not contrast more with the Beats’ representation of their movement and its aims, with Jack Kerouac going so far as to reinterpret the crucial term “Beat” (a term for someone down and out originally borrowed from criminal street jive) as a noun derived from the adjective “beatific,” a specifically religious term familiar from such phrases as “the beatific vision” (ibid., 206–207). Several of the representative Beat writers were practicing Buddhists, influencing the entire movement to such an extent that Buddhist ideas and imagery suffused Beat literature as a whole. Ginsberg and Kerouac especially emphasized the positive and constructive elements of their spiritual vision, arguing that literature such as On the Road and Howl should be understood as religious affirmations of what is good and holy rather than as purely critical undertakings: “For the crucifix I speak out, for the Star of Israel I speak out, for the divinest man who ever lived who was German (Bach) I speak out, for sweet Mohammed I speak out, for Buddha I speak out, for Lao-tse and Chuang-tse I speak out” (ibid., 206–207). Or, as Allen Ginsberg put it less lyrically (and rather more bluntly): “Howl is an ‘Affirmation’ by individual experience of God, sex, drugs, and absurdity... the poems are religious and I meant them to be” (ibid., 207).But for the most part, Beat asseverations in no way diminished scholarly wariness about the Beat movement and its spirituality—as Prothero concludes, “the tendency among literary scholars is to see these [religious] concerns as tangential rather than constitutive” while “historians of American religion who have explored beat spirituality have tended to focus almost exclusively on the beats’ engagement with Zen and then to dismiss that engagement as haphazard” (ibid., 207).It is my contention that the mainstream scholarly neglect of Beat spirituality is in some part... (shrink)

Any explanation of numbers and numeric occurrences in Celtic tradition (myths, imagery, schemes, realia, lore) requires an analysis of the whole context, for in no manner are they relevant of a kind of numerology. Most of these figures are deeply rooted in cosmological, seasonal, cyclic patterns, with analogical and metaphorical values in different fields (theories of wisdom, war, body politics), so that we can explain them by the inherited experiences of Indo-European culture, requiring then a periodization. The Divine Twins, (...) the twofold sovereignty, the Three Skies and the Three functions, the four provinces and the fifth, the festivals, the voyage to the Otherworld with its special time and calendar implications, are relevant of this conception. Here we are dealing with some numeral occurrences in relation with the year as a rythmical image of power. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Naomi Greene SARTRE, SEXUALITY, AND THE SECOND SEX Few would deny that Simone de Beauvoir's analysis of female sexuality plays a very important role in her book The Second Sex, widely regarded as one of the key works of modern feminist thought. At the same time, it is precisely her view of sexuality, and many of the conclusions it gives rise to concerning female behavior, which constitute some of (...) the most problematical areas in this vast and complex work. Margaret Walters echoes the concerns of many feminists when she remarks that de Beauvoir "attacks the mystique of femininity—by accepting a masculine mystique. In the end, it is she who equates the human with the male sex, who idealizes male values, sees life from a masculine perspective." So far, however, little attention has been paid to the ways in which de Beauvoir's view of female sexuality and behavior reveals the unmistakable influence of her life-long friend and companion, Jean-Paul Sartre. It is not difficult to discern in some of Sartre's central metaphysical ideas—ideas which de Beauvoir uses to create the theoretical framework of The Second Sex—a world view which is deeply anti-sexual (perhaps even anti-life, but then life itself appears symbolized by sex) and anti-female. Sartre's anti-sexual bias is more readily apparent in the metaphors of Nausea (1938), his philosophical novel, than in his strictly philosophical work, Being and Nothingness (1943). Nausea is, in fact, alive with metaphors since it seeks to render accessible, even tangible, some of the fundamental abstractions of Being and Nothingness. The feeling of nausea itself, for example, is essentially a metaphor for man's basic experience of Being: the nausea comes when man realizes that all the distinctions and orders (in particular, language itself) he has imposed upon the world are arbitrary (there is, for example, no necessary connection between words and things) and the real nature of Being unfolds itself as a vegetal, ever-changing, viscous, engulfing matter. Deprived of a "reason" for being, man is "de trop," part of the world of matter, and his unjustified existence is contrasted both with lifeless 199 200Philosophy and Literature and unchanging forms, such as minerals and stones, and with the abstract realms of mathematics and music, realms governed by inexorable laws. Unlike these lifeless or abstract realms, the world of matter, of Being, is in perpetual movement and metamorphosis. And it is when Sartre discusses these infinite, arbitrary metamorphoses, the revelation of which provokes the nausea, that his imagery betrays a distaste for sexuality. In one famous passage, for example, we are told that when the nausea takes over, a man may well awaken in a "forest of murmuring cocks, rising red and white towards the sky like the chimneys of Jouxtebouville, with great balls half out of the earth, shaggy and bulbous like onions. And birds will fly around those cocks and peck them with their beaks and make them bleed. Sperm will flow slowly, gently, from these wounds, sperm mixed with blood, vitreous and lukewarm with small bubbles." This implied link between unpleasant sexuality and a basic fear of engulfing Being is made even clearer in one of his early philosophical tales, "The Room" (1939), in which madness, like nausea, seems to stand for what we will experience when we become aware of the nature of Being. But it can hardly be arbitrary or coincidental that the form taken by this madness is that of a pathological, sexual nature. And in still another early tale, "Intimacy," a wife actually enjoys the relationship she shares with her impotent, disturbed husband. The distaste for sexuality suggested in Sartre's early works declares itself openly in the portrait of women found in his later fiction, indicating that the sexual metaphors of Nausea, far from being chosen at random, were inspired by deep and persistent feelings. In the trilogy The Roads to Freedom (1945-49), a historical fresco of France during the crucial years preceding World War II, women seem to incarnate all the attributes which disgust Sartre in matter or unjustified Being: they embody the viscous, passive, heavy world of the en-soi ("being-in... (shrink)

As a young boy, Jacques Henri Lartigue set about passionately recording his life in photographs, first documenting his domestic circle and later capturing the auto races, air shows, and fashionable watering holes of the Belle époque. His images have so bewitched modern viewers that even scholars have failed to see them clearly. In Jacques Henri Lartigue: The Invention of an Artist, Kevin Moore puts to rest the long-held myth of Lartigue as a naïve boy genius whose creations were based on (...) instinct alone. Moore begins by exploring the milieu in which Lartigue became a photographer, examining his father's crucial role in teaching him the latest techniques as well as the larger context of the turn-of-the-century craze for amateur photography. Two events brought Lartigue before the public eye in America and created the Lartigue myth: In the summer of 1963, the first exhibition of Lartigue's work in the United States was held at the Museum of Modern Art, which hailed him as an important modernist photographer, a forerunner of the art-documentary style of the 1960s. That fall, Life magazine published a feature presenting his work as an optimistic and sentimental prologue to World War I. Both treatments portrayed him as a naïve genius and Lartigue happily participated in shaping this new persona. In Jacques Henri Lartigue: The Invention of an Artist, Moore successfully challenges the Lartigue myth using examples from popular magazines and the cinema. Illustrated with more than fifty of Lartigue's photographs and drawings as well as press imagery from the period, the book offers a radical reassessment of the photographer and his work. (shrink)

This paper traces the role of American technocrats in popularizing the notion later dubbed the “technological fix”. Channeled by their long-term “chief”, Howard Scott, their claim was that technology always provides the most effective solution to modern social, cultural and political problems. The account focuses on the expression of this technological faith, and how it was proselytized, from the era of high industrialism between the World Wars through, and beyond, the nuclear age. I argue that the packaging and promotion of (...) these ideas relied on allegorical technological tales and readily-absorbed graphic imagery. Combined with what Scott called “symbolization”, this seductive discourse preached beliefs about technology to broad audiences. The style and conviction of the messages were echoed by establishment figures such as National Lab director Alvin Weinberg, who employed the techniques to convert mainstream and elite audiences through the end of the twentieth century. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Tragic Evolutionary Logic of The IliadBrian BoydThe Rape of Troy: Evolution, Violence, and the World of Homer, by Jonathan Gottschall; xii & 223 pp. Cambridge: Cambridge University Press, 2008, $32.00 paperback.Jonathan Gottschall has conquered the oldest and craggiest peak of Western literature, The Iliad, by a new face. He stakes out the Darwin route to Homer so directly and clearly that he makes the climb inviting and inspiring (...) even to curious newcomers without high-altitude evolutionary training. And the vista he opens up offers us a chance to look in multiple directions: at Homer, at literary evolutionism and its possibilities, and at Gottschall's role in exploring this new route to discovery.One previous monograph has investigated a single literary work from a Darwinian viewpoint: Brett Cooke's analysis of Evgeny Zamyatin's 1921 science-fiction classic, We.1 Cooke's Human Nature in Utopia, by showing how Zamyatin appeals to the evolved nature of readers, in the face of the denial of human nature in his imagined One State and in early Soviet Communism, deepens our natural response to a modern classic. But where Cooke merely succeeds, Gottschall triumphs. The Rape of Troy not only deepens our response to a classic discussed for almost three millennia but also explains the world of Homer in a way no one could have seen without the multi-million-year perspective evolution allows—and does so with conceptual clarity, tight argument, effortless imagery, and copious verbal energy. [End Page 234]Gottschall emphasizes that his "evolutionary anthropology of conflict in Homeric society" does not attempt a Homeric "theory of everything" (pp. 3, 9). There is much of interest in The Iliad he does not touch on, and much even in possible evolutionary approaches to Homer that he does not consider. He focuses intently on a single two-part question: Why is there so much violence in the Iliad, and what effect does it have on how those in Homeric society see their world?After a brilliant introductory overview, he shows in his first two chapters how over the last century Homerists have increasingly turned to comparative anthropology to augment the meagre direct data. They have clarified that the Iliad was long obscured by later Western assumptions about states and kings, and that the poem probably reflects something like Homer's own world, within (at about 800 BCE) the late Greek Dark Age, a pre-state society in many ways closer to Highland New Guinea than to the worlds of Caesar or Charlemagne.Everyone who knows about the Trojan War knows that the Greeks fight Troy because the Trojan prince Paris took Helen from her husband, the Greek lord Menelaus. But readers of the Iliad want to know why thousands of soldiers on both sides persisted through ten years of brutal battle. Surely war on this scale cannot have been over just a woman? Scholars have proposed many explanations of what was really at stake. Immortal honor for men all too aware, day after bloody day, of their own physical mortality? Power? Status? Material goods? Prestige goods? A chance to neutralize enemies?By drawing on evolutionary biology and anthropology, Gottschall can show that this war, like most human violence against other humans, and even like most intraspecies animal violence, stems ultimately from male competition over females. He introduces the powerful and far-reaching principle of differential parental investment developed by Robert Trivers.2 As Gottschall lucidly elaborates: "males will attempt to mate more promiscuously both because sex is cheaper for them, and because they have the potential to produce many offspring with multiple females. I emphasize the words 'attempt' and 'potential' because if every male adopts a relatively promiscuous strategy, and if some males succeed, then other males will not reproduce at all" (p. 44). The far more divergent rates of reproductive success among males than among females prove to be the key determinant. Gottschall sums up: "males typically face higher risks of total reproductive failure and higher hopes of extraordinary reproductive success. This creates strong incentives to compete for mates. Males who are better able to compete for access to [End Page 235] scarce female reproductive capacity, in whatever form... (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

Walter Mosley’s Devil in a Blue Dress contributes significantly to the literary debate on the definition of whiteness. The socio-historical construction of whiteness emerging from the novel is amplified by white imagery dovetailing with the claims made about white people directly. For the African American first person narrator, Easy Rawlins, living in post-World War II Los Angeles, whiteness mostly spells terror. The oppressive faces of whiteness consist in the following trajectories: property relations, economic exploitation, labour relations, the legal system, (...) different miens of oppressive white masculinity denigrating blackness, spatial dynamics of post-World War II Los Angeles and the white apparatus of power that the narrator needs to confront throughout the novel. White imagery carried to the extreme magnifies the terrorizing aspect of whiteness in the narrative. Like many authors of colour, Mosley associates whiteness with death. Whiteness inundates Easy Rawlins from all sides, entailing insincerity, dishonesty, interestedness and hypocrisy. (shrink)