bluuebunny/crossref_metadata_2025 huggingface dataset:
The Real Utopian Approach
Authors: He Baogang
Published: May 2017

Chapter 2 examines two paradigms for the Taiwan and Tibet question, namely realism and democracy. It provides a brief account of the general features of each paradigm and outlines the advantages and disadvantages of each approach. It questions some presuppositions of the two intellectual frameworks through which scholars study Taiwan and Tibet and political actors propose various solutions to the Taiwan and Tibet question. The chapter introduces and employs Eric Wright’s “real utopian” approach, which combines both normative and empirical thinking, and considers the conditions under which various democratic solutions to the Taiwan and Tibet question are proposed and attempted. Moving back and forth between realism and democracy, the book develops a methodologically reflective equilibrium, which continues throughout the book.
Referendum and the Taiwanese National Identity
Authors: He Baogang
Published: May 2017

Chapter 5 focuses on the debate over the resolution of Taiwanese national identity through referendums. It provides a comprehensive historical and political overview of the issues involved, and examines the prospects for future referendums and their policy implications. The chapter examines the referendum proposal adopted by the DPP, the referendum law debated in the legislative Yuan, and the administrative regulation proposed by the Executive Yuan. It also examines the manipulative aspect of referendum and suggests that a future referendum should follow the guidelines of deliberative democracy to achieve a deliberative referendum.
Beyond Chinese Linguistic Imperialism: Multi-linguistic Policy
Authors: He Baogang
Published: May 2017

In discussing the erosion of Tibetan language teaching in Tibet, Chapter 9 explores China’s long history of ‘linguistic imperialism’ and asks how it is mediating, and perhaps even undermining, multicultural education in the PRC. It finds that China’s linguistic history has been one of linguistic imperialism in which China’s language policies have been shaped by the dominance of the Chinese script and by the state’s desire to create and maintain Great Unity. This chapter also offers insight into the probable future direction of linguistic trends of Tibetan language teaching, and suggests several ways in which China can go beyond linguistic imperialism in pursuing a plural and multi-linguistic language policy.
A Deliberative Approach to the Tibet Autonomy Issue
Authors: He Baogang
Published: May 2017

Chapter 10 reviews and compares three deliberative approaches to conflict, and applies the deliberative approach to the Tibet autonomy issue. It examines the case of a deliberative workshop, including its achievements and limitations. This chapter demonstrates that this deliberative dialogue has improved knowledge and mutual understanding, enhanced mutual trust and deliberative capacities, and produced moderating effects.
Flaubert and Authority
Authors: Evans Jonathan
Published: May 2017

This chapter focuses on Davis’s translation and rewriting of Flaubert’s work in her translation of Madame Bovary and in her ‘Ten Stories from Flaubert’. The first half of the chapter analyses her translation of Madame Bovary, asking how it is positioned through Davis’s paratextual materials. As the retranslation of a multiply translated novel, Davis positions her translation as a translation of the style of the novel, against earlier translations. While Madame Bovary is a conventional translation, Davis’s ‘Ten Stories from Flaubert’ problematizes the distinction between writing and translation, as the stories are based on translated extracts from Flaubert’s letters. As such, they are read with both Davis and Flaubert in mind; this doubleness recalls found objects that are both everyday objects and presented as artistic works.
The Event Universe
Authors: McHenry Leemon B.
Published: May 2017

What kinds of things are events? Battles, explosions, accidents, crashes, rock concerts would be typical examples of events and these would be reinforced in the way we speak about the world. Events or actions function linguistically as verbs and adverbs. Philosophers following Aristotle have claimed that events are dependent on substances such as physical objects and persons. But with the advances of modern physics, some philosophers and physicists have argued that events are the basic entities of reality and what we perceive as physical bodies are just very long events spread out in space-time. In other words, everything turns out to be events. This view, no doubt, radically revises our ordinary common sense view of reality, but as our event theorists argue common sense is out of touch with advancing science. In The Event Universe: The Revisionary Metaphysics of Alfred North Whitehead, Leemon McHenry argues that Whitehead's metaphysics provides a more adequate basis for achieving a unification of physical theory than a traditional substance metaphysics. He investigates the influence of Maxwell's electromagnetic field, Einstein's theory of relativity and quantum mechanics on the development of the ontology of events and compares Whitehead’s theory to his contemporaries, C. D. Broad and Bertrand Russell, as well as another key proponent of this theory, W. V. Quine. In this manner, McHenry defends the naturalized and speculative approach to metaphysics as opposed to analytical and linguistic methods that arose in the 20th century.
Introduction
Authors: McHenry Leemon B.
Published: May 2017

This chapter introduces the main theses of this book: to defend an event ontology in the fashion of Whitehead, Russell and Quine against the traditional substance ontology, and to examine the plausibility of this theory within the contemporary quest for a unified theory of physics.
The Influence of Modern Physics
Authors: McHenry Leemon B.
Published: May 2017

This chapter investigates the influence of Maxwell’s electromagnetic theory, Einstein’s relativity theory and the early quantum theory on the development of the event ontology in the 1920s with particular focus on Whitehead’s view. These were the three key ideas that led to a transformation of our view of reality as comprised fundamentally of energy events. The two main themes of this chapter include: (1) physical evidence in support of an ontology of events, and (2) the increasing unification of physical theory until we arrive at the current state of two highly successful, unified theories that are presently disunified within the search for a comprehensive, unified theory.
The Revisionary Theory of Events
Authors: McHenry Leemon B.
Published: May 2017

This chapter examines the affinities and contrasts in the event theories advanced by Whitehead, Russell and Quine, all of which originate from the revolution in twentieth-century physics. The revisionary theory of events overthrows the descriptive theory, according to which events are dependent on substances. Events, under this new theory, are basic and substance, as an ontological category, is eliminated.
‘Into Unknown Country’: Cinematicity and Intermedial Translation in Mansfield’s Fictional Journeys
Authors: Harland Faye
Published: May 2017

This chapter examines the intermedial qualities of Mansfield’s fiction as a form of translation, suggesting that her work draws upon the new technologies of rail travel and the cinema in order to explore changing perceptions of the modern world. Mansfield’s fiction is aligned with early twentieth century visual culture, adapting the visual effects of various new media into written word. The chapter also discusses the connection between translation and transposition, examining the liminal journeys undertaken by Mansfield’s characters in terms of exile, subjective vision, and cultural perceptions of time and space.
Dorothy Brett’s Umbrellas (1917)
Authors: Spalding Frances
Published: May 2017

This brief article examines the painting titled Umbrellas, painted in 1917 by the Hon. Dorothy Brett. The painting depicts the world of talented individuals, composed of artists, writers and intellectuals, who used to gather at Garsington, the country home of Lady Ottoline Morrell. Although primarily an animated portrait of people Brett knew well, the painting is artfully structured around the abstract shapes created by the umbrellas, which wheel about and help frame the sitters. Ottoline presides at the centre, and opposite her is in the bottom left of the painting, is Aldous Huxley. Also depicted are Lytton Strachey, Brett herself, Julian Morrell, Katherine Mansfield and John Middleton Murry.
Katherine Mansfield in Many Guises
Authors: Mitchell J. Lawrence
Published: May 2017

Just two years after the publication of The Collected Fiction of Katherine Mansfield in two volumes comes another handsomely produced and admirably edited book, The Poetry and Critical Writings of Katherine Mansfield, the third volume in The Edinburgh Edition of the Collected Works of Katherine Mansfield....
Welcome to Paradise
Authors: Hager Mandy
Published: May 2017

It was a glimpse into Paradise. The sun caught the old town first, its jumble of faded pastels glowing like the gilded ceilings of the Vatican – yellow, pink, rose, white, red, orange, grey and cadmium; medieval plasterwork rising joyously from the silky sea as it had done for more centuries than she could even comprehend....
Introduction
Authors: Wold Atle L.
Published: May 2017

This book aims to cover two main gaps in the research on Scotland in the 1790s: While much work has been done on radicalism, comparatively less work has been carried out on loyalism, and no work has been published focusing specifically on the government’s supporters in Scotland – the loyalists. This book does that. Second, while considerable work has been carried out on individual issues such as popular disturbances, military recruitment or the prosecution of radicals before the law courts, a publication taking a more comprehensive approach has so far been missing. Again, this book aims to address the question of Scotland’s role in the 1790s in a broader sense, looking at, precisely, political trials, military recruitment, financial contributions, and loyalism.
The Government of Scotland in the 1790s
Authors: Wold Atle L.
Published: May 2017

This chapter looks at the way Scotland was government during the 1790s. The central focus is on the response given by the authorities in Scotland to the up-surge of political radicalism and politically induced popular disturbances in the early years of the decade, as well as on the relationship between the local authorities in Scotland, and the central government in London. A main argument presented is that local and central government were not always in agreement, and that there was a degree of interaction between them, where the views presented by the local officials in Scotland sometimes prevailed. The chapter also looks at how the authorities in Scotland related to the various other challenges a decade of war presented to them.
Military Recruitment
Authors: Wold Atle L.
Published: May 2017

Recruitment for the armed services formed a central part of wartime policies, and this chapter addresses the recruitment which took place in Scotland, comparing this with England. The chapter addresses all the different types of armed units which were raised in the 1790s, ranging from regular forces such as the Army and the Royal Navy, to the different kinds of forces for ‘internal defence’ that were set up, the Fencibles, Volunteer Corps and Auxiliaries. Most attention has, however, been given to the raising of a Scottish Militia in 1797, and the main argument presented with respect to this is that – while the militia riots were not doubt serious and widespread – Scottish responses to the Militia Act were more varied that has often been allowed. There were many Scots who either supported the measure, or demonstrated their opposition in more constructive ways than to stage riots.
Demonstrations of Loyalty
Authors: Wold Atle L.
Published: May 2017

This chapter explores the various ways in which Scots demonstrated their loyalty to the British state in the 1790s. It is argued here that loyalism, and not patriotism, is the better term to use when assessing Scottish support for the government and the British state in the 1790s, and a main theme explored in this analysis is the question of what constitutes genuine loyalty, and how this can be measured. The evidence on loyalism is extensive, and it is clear that the Scots demonstrated their loyalty to the state in a number of different ways, such as loyalist resolutions, suggestions for policy initiatives, offers of personal service to the state, and a variety of voluntary financial contributions. A main argument in this chapter is that, in general terms, loyalism in Scotland comes across as very constructive in its outlook – that it was loyalism on the government’s terms.
Susan Seidelman’s Contemporary Films: The Feminist Art of Self-reinvention in a Changing Technological Landscape
Authors: Lane Christina
Published: May 2017

This chapter spotlights Susan Seidelman, who came of age during the second-wave feminist movement and found success and acclaim in the 1980s indie wave but, like other female filmmakers of her generation (Julie Dash and Allison Anders), struggled subsequently when their follow-up projects failed through poor distribution or never reached production. Lane examines Seidelman’s long-term response to this dilemma through self-reinvention and by capitalising on new technologies, including digital, social and emergent media and micro-budget strategies such as crowdsourcing and self-distribution. Her most recent films (Boynton Beach Club, 2005, and The Hot Flashes, 2013) are low-budget ‘high concept’ endeavours marketed to niche audiences – seniors, Latinos and disabled rights groups – yet blend elements of commercial and independent film.
Down to the Bone: Neo-neorealism and Genre in Contemporary Women’s Indies
Authors: Badley Linda
Published: May 2017

This chapter examines a resurgence of the American independent tradition of documentary-style social realism that inspired and enabled women filmmakers in the 1980s in recent films by Debra Granik (Winter’s Bone, 2010), Courtney Hunt (Frozen River, 2008), and Kelly Reichardt (Meek’s Cutoff, 2011), among others. These films adapt an international ‘neo neorealist’ aesthetic and ethos to expose the detrimental effects of neoliberal austerity on working-class women’s lives. Such realism is by no means ‘pure’, however, Badley argues, as these filmmakers incorporate melodrama and reappropriate mainstream ‘male’ genre tropes in the interest of highlighting feminist characterisations and ‘moments’ within their films, while appealing to a wider audience than otherwise, to offer visible interventions within the Indiewood sector.
Black Women, Romance and the Indiewood Rom Coms of Sanaa Hamri
Authors: Cobb Shelley
Published: May 2017

This chapter explores Sanaa Hamri's innovations on the mainstream genre of the postfeminist romantic comedy in her Indiewood productions Something New (2006) and Just Wright (2010). Compatible with a trend for ‘feel-good’ films about middle-class blacks, Hamri’s films are neither formally innovative nor politically progressive and therefore ignored in studies of contemporary black film and women’s cinema alike. Yet simply in existing, as films about black women made by black female filmmakers who are thereby made visible, Hamri’s films intervene in a pervasively white postfeminist media culture. They also transfigure the black romantic comedy by challenging the dominant stereotype of the middle-class black woman’s negotiation of love and career in which she must give up one to have the other.
Not Just Indie: A Look at Films by Dee Rees, Ava DuVernay and Kasi Lemmons
Authors: Baron Cynthia
Published: May 2017

This chapter explores the complexity and importance of intersectionality in feature films by Dee Rees, Ava DuVernay and Kasi Lemmons. Overlapping women’s, independent, black and black independent cinema, their films reveal how the independent sector remains socially relevant, providing a space for the critique of race, class, gender and sexuality in American independent cinema. Where their early films place black women’s subjectivities at the centre of intimate narratives, their recent work assumes a ‘womanist’ perspective that encompasses the lives and experiences of a people regardless of gender. Rees’s Bessie (2015), Lemmons’ Talk to Me (2007) and Du Vernay’s Selma (2014) are intimate portraits amidst historical contexts that convey the scale and impact of events on a range of black subjectivities.
Miranda July and the New Twenty-first-century Indie
Authors: McHugh Kathleen A.
Published: May 2017

This chapter singles out the brilliant, idiosyncratic multi-mediary work of Miranda July as exemplary of American independent cinema as it currently stands. Defining the latter in terms of the emerging indie culture of the twenty-first century’s second decade, McHugh argues that July’s oeuvre reframes the masculinist rhetoric that has dominated the discussion until now. Manifesting itself communally, through informal networks rather than through self-stylisation, July’s creative work is collaborative, improvisational, and distributed across a broad range of platforms including, besides film and video, writing, acting, performance and conceptual art, all of which are represented in her two feature films Me and You and Everyone We Know (2005) and The Future (2011).
Beyond the Screen: On Contemporary Feminist Media Re-articulations
Authors: Pederson Claudia Costa , Zimmermann Patricia R.
Published: May 2017

In this chapter, Pederson and Zimmerman, programmers for the Finger Lakes Environmental Film Festival, a multi-disciplinary, multi-arts, cross-platform festival, examine women’s new feminist media environments, ventures and practices that reject the goal of producing a fixed object such as an analog feature film. Practitioners work within relational and participatory models, with the role of director yielding to that of designer or convener within place-based encounters and workshops. Highlighting intersectional connections between feminism and other issues, these projects range across media platforms as in The Lunch Love Community Project (2010-2014, an online mosaic promoting healthful food in schools) and Children of Srikandi (2012, a collaborative multimedia LBGT project in Indonesia).
Preston Sturges, Sullivan’s Travels, and Film Authorship in Hollywood, 1941
Authors: Wexman Virginia Wright
Published: May 2017

This chapter conducts a reading of Preston Sturges’s 1941 film Sullivan’s Travels that focuses on its discourses about film authorship. While the auteurism that drives much film criticism today routinely approaches directors as authors, in 1941 the case for directors had yet to be made in unequivocal terms. Drawing on archival materials housed at UCLA, including unproduced scripts and correspondence, the chapter argues that Sturges used the vehicle of Sullivan’s Travels to argue that neither producers nor stars like Veronica Lake can be taken seriously as authors. However, the film remains ambivalent about the rival claims to authorship mounted by screenwriters and directors. The reasons that lay behind this ambivalence arose from Sturges’s belief that, while screenwriters were the most important authors, directors were the ones who held the power in Hollywood.
Sturges’s Many Mothers
Authors: Karnick Kristine Brunovska
Published: May 2017

A notable aspect of Preston Sturges’s comedies is that they routinely include mothers—though Hollywood comedies, as a whole, include very few of them. Motherhood, for Sturges, is a powerful, and admirable force. This chapter discusses the role of motherhood in two Sturges comedies: The Miracle of Morgan’s Creek and Hail the Conquering Hero, as well as his ideas about motherhood found in the unproduced screenplay for Matrix. Sturges’s ideas about motherhood changed over time, reflecting shifting cultural norms.Through these changes, however, his films and his ideas about motherhood remained intriguing.
“These Are Troublous Times”: Social Class in the Comedies of Preston Sturges
Authors: Beach Christopher
Published: May 2017

This chapter discusses the role of social class in three comedies directed by Preston Sturges in the early 1940s: Christmas in July, Sullivan’s Travels, and The Palm Beach Story. In tracing the development of class-based themes from Christmas in July through The Palm Beach Story, the chapter argues that Sturges shifts his emphasis from a more conventional form of social satire to a form of parody in which class attitudes are more difficult to discern. Among the three films discussed, only Christmas in July offers a straightforward treatment of social class. Sullivan’s Travels ends with a more ambivalent message about the social inequality and class stratification of American society, while The Palm Beach Story is as much a parody of class-based screwball comedies of the 1930s as it is an indictment of American attitudes about class.
“They Always Get the Best of You Somehow”: Preston Sturges in Black and White
Authors: Gabbard Krin
Published: May 2017

There is no question that the films of Preston Sturges present racist stereotypes. But we must remember the profound racism in America when Sturges was working. There is even evidence that Sturges respected his African American actors, making sure that they were treated as professionals. Several blacks even became members of his repertory company, working alongside a group of actors who often embodied a range of ethnic stereotypes. And in many of his films, Sturges’s blacks actually express a wry suspicion of white Americans, thus advancing the satiric projects of his films. Rather than concentrate on Sturges’s habit of presenting racist images of black people, we should be attentive to what his African American characters actually say and do.
Presto(n) con Spirito: Comedies with Music, Sturges-style
Authors: Marks Martin
Published: May 2017

This chapter probes music in eight comedies directed by Sturges: seven Paramount productions (1940-44) and Unfaithfully Yours (1948). The Paramount features departed from generic norms for studio romantic comedies by having more music than was customary. But how much credit does Sturges deserve for being a musical “auteur”? The question remains open, but the essay’s analyses show how well Paramount’s staff composers served his purposes. Through apt themes and clever thematic developments, jarring mixtures of “high” and “low” styles, disjunctive couplings of diegetic and non-diegetic cues, ironic allusions to pre-existent repertoires, and (in select cases) through the use of unconventional “musical montages,” each of these scores enhanced the director’s paradoxical narratives. Unfaithfully Yours brought these paradoxes to the fore in a novel manner, and addressed fundamental questions of music’s own meanings, both in film and on its own.
Another Transcendental?
Authors: Llewelyn John
Published: May 2017

Having produced evidence, albeit fragmentary, for maintaining that Scotus is among those who are sympathetic to classing goodness or the good as a transcendental, it behoves us to ask whether he and-or Hopkins accord the distinction of transcendentality to beauty or the beautiful. That they do derives direct support from the putative fact noted above that transcendentals are mutually penetrative. That Hopkins does is further supported by what some of his readers, including this one, will regard as a tiresomely excessive use of the words ‘beauty’ and ‘beautiful’. He sometimes uses the noun ‘beauty’ as another name for God or for one of the attributes of the Singular Origin of Singularity: prima species primaque pulchritudo. The Latin species can be synonymous with ‘beauty’. It can also be translated by ‘pattern’, ‘design’, so perhaps too by ‘inscape’. When we grant that inscape is instressed in the way described in chapter 2 and if we accept that readiness to sacrifice oneself for another is a prerequisite of truly agapeistic love, we may begin to understand that the most beautiful word for beauty may be ‘loveliness’, provided that the verbal force of this word’s first syllable is acknowledged and with it that the love of loveliness is practical, an expression of the will, not least when moral loveliness is what we mean. Would that Hopkins had taken to heart Ruskin’s lesson that the highest beauty is sublime, and the highest sublimity beautiful. He would have seen the relation between beauty and sublimity as one of formal distinction. Beauty and sublimity are conceptually quite distinct from each other independently of any operation of reason, but they are metaphysically, a parte rei, not separable, even by God.
Seeming, Observing and Observance
Authors: Llewelyn John
Published: May 2017

Literature is a treasury of likenesses and unlikenesses. Much is to be learned about the various ways ‘like’ and ‘as’ function from a comparison of how the kestrel is ‘worded’ by Hopkins and how the peregrine is addressed by John Alec Baker. Hopkins writes predominantly as a poet preoccupied with peculiarities or what I call ‘quaints’. Although much of the log of Baker’s observations of the peregrine is written in poetic prose out of love for the bird, much of it is driven by a concern for the increase of scientific knowledge. This difference is marked by the distinction between ‘as if’ and ‘if then’. That is to say, the appeal to Baker in this chapter facilitates an overview of the strategic design of the book as a whole. Located at the beginning of the book’s second part, this chapter heralds a turn toward the application to natural and human science of the logical and ontological lessons learned in the book’s first part. This emphasis on the scientific leads Baker’s readers to notice that allusions to the Creator are almost totally absent from The Peregrine, whereas Hopkins’ ‘The Windhover’ is dedicated ‘To Christ our Lord’. Hopkins’ observations are made in praise of the Creator. Baker’s are made in service to science. Together they announce the hope that adherence to an institutional religion is not a necessary condition of anyone’s finding the reading of Hopkins and (may I say?) this study a rewarding experience. But the field of institutional religions is not the same as that of the religious.
Categories and Transcendentals Transcended
Authors: Llewelyn John
Published: May 2017

In this chapter attention is directed again at the relation between attention and intention. ‘Phenomenological’ intentionality may but does not necessarily implicate the will. Whether it does depends among other things on whether willing is understandable as wanting. This is how volo is understood in a Latin phrase cited by Hannah Arendt from a letter to her from Heidegger who attributes it to Augustine, namely ‘Amo: Volo ut sis’. I translate this as ‘I love: I want you to be’. Arendt too has ‘I want’, though it seems to me that the translation ‘I will’ would have been more consonant with the expectations raised in the context of her opinions on Scotus whom she describes as ‘the lonely defender of the primacy of the Will over Intellect’, notwithstanding his own argument for the equiprimordiality of these rather than for the priority of one over the other. However the validity of his argument may depend on what we think of his contention that what he names the natural will (wanting?) is ‘not really will at all, nor is natural volition true volition, for the term “natural” effectively cancels or negates the sense of both “will” and “volition”.’ He appears to take the duality in question here as that of a power in relation to its perfection and what he describes as a heightening of pitch, instress and therefore will. These distinctions are only a few of those that have to be made if we are to be clear about the differences between velle, willing, nolle, being unwilling, velle-nolle, willing not to will, and non-velle, not willing. For Scotus’ purposes and the purposes of this study the most important of these possibilities is that of rejecting both of the original simple alternatives, velle and nolle. For one of the keys to an understanding of this study is an understanding of what it is to will not to will.
Morocco
Authors: Hill J.N.C.
Published: May 2017

Drawing on Levitsky and Way’s model, this chapter provides an original explanation of the endurance of Morocco’s competitive authoritarian order. Levitsky and Way argue that the country is an unsuitable case study because it has an unelected executive (the monarch). The chapter challenges this assertion before demonstrating that the regime’s survival is mainly due to the West’s low leverage over it and its high organisational power. The chapter goes on to show that, like its Algerian counterpart, the regime draws strength from not relying on any single party. Rather, by courting several, either simultaneously or consecutively, it is able to preserve its independence and freedom of manoeuver.
The Wider Subjectivities of Men in Reserved Occupations in Wartime Glasgow and Clydeside
Authors: Chand Alison
Published: May 2017

This chapter analyses the narratives of men who worked in reserved occupations in Clydeside to explore wider aspects of their individual subjectivities other than gender. Areas of subjectivity examined include national identity (picking up from the discussion in Chapter 3 and looking at men of non-British or Scottish nationality), class consciousness and political identity, religion and social activities. This chapter widens the picture of how men in reserved occupations experienced the war, arguing that male reserved workers were aware of ‘imagined’ collective subjectivity on a national level, and that important similarities existed between the subjectivities of men who worked in different regions of Britain, particularly those with higher proportions of men working in reserved occupations.
The chapter re-enforces the notion that the subjectivities of such men existed on different levels and reflected to varying degrees the concepts of ‘imagination’ and ‘living’, making clear that the subjectivities of male civilian workers in wartime Clydeside comprised different national, ethnic, religious, class and political attributes, all integral and important to reserved men before, during and after the Second World War. Arguably, however, men were often aware of these integral aspects of their subjectivities on an ‘imagined’ level, and many aspects of them were superseded by a pre-occupation with everyday living, also continuous and fundamentally unchanged by wartime.
In arguing for the continuity of different ‘imagined’ and ‘lived’ forms of subjectivity among men in reserved occupations in wartime Clydeside, this chapter re-enforces the notion that, although integral to masculinity, temporary wartime ideals did not fundamentally change the masculine subjectivities of male civilian workers.
Re-negotiated Social Relationships: Women in Reserved Occupations in Glasgow and Clydeside
Authors: Chand Alison
Published: May 2017

This chapter acknowledges that men working in reserved occupations did not live and work in vacuums but in communities alongside other civilians, notably women. The chapter looks at women’s experiences of working in reserved occupations in Clydeside, including their feelings of contribution to the war effort, self fulfilment in work and, in some cases, dislike of work and lack of attachment to the war effort. The chapter also examines the extent to which the subjectivities of working women could be described as uniquely regional during the war, moving towards an understanding of the separate subjectivities of men and women as existing in ‘living’ communities and relationships in history, where the abstractions of social and cultural discourse are inextricably intertwined with the physical realities of day-to-day existence. A central argument is that women’s wartime work in Clydeside was representative of re-negotiated relationships with the men in their communities rather than destabilising masculinity. The chapter also looks at the wider subjectivities of women in reserved occupations and the importance to them of place.
Revolutionary Preoccupations: Or, Transatlantic Feeling in a Radical Sense
Authors: Coghlan J. Michelle
Published: May 2017

Chronicling the Commune’s returns across a surprisingly vast and visually striking archive of periodical poems and illustrations, panoramic spectacles, children’s adventure fiction, popular and canonical novels, political pamphlets, avant-garde theater productions, and radical pulp, this book argues that the Commune became, for writers and readers across virtually all classes and political persuasions, a critical locus for re-occupying both radical and mainstream memory of revolution and empire, a key site for negotiating post-bellum gender trouble and regional reconciliation, and a vital terrain for rethinking Paris—and what it meant to be an American there—in U.S. fiction and culture. For Americans felt Paris to be curiously their own long before the Moderns made it their hometown. This introductory chapter explores the key words at the heart of the book, and offers a taste of its material terrain. It concludes with an overview of its subsequent chapters.
Tasting Space: Sights of the Commune in Henry James’s Paris
Authors: Coghlan J. Michelle
Published: May 2017

This chapter moves from sights of Paris as a revolutionary underground to sites of Paris in ruin, from unexpected forms of imperial adventure or subterranean possibility to uncanny forms of affective possession. While The American Scene has been the privileged site to examine Henry James’s fascination with—and affective responses to—lost landmarks and newly minted ruins, I excavate the sights of and detours around the post-Commune ruins of Paris in his writings and contemporary periodical culture. Situating James’s attention to charred landscape and vanished tourist sights alongside their ongoing returns in U.S. print and visual culture, I suggest, crucially reconfigures James’s transformative and uncannily embodied “historic sense” even as it recovers the post-Commune ruinscape that came to function as an unexpectedly charged site of transnational memory in U.S. literary, visual and performance culture.
Barricades Revisited – the Commune on Campus from FSM to SDS
Authors: Coghlan J. Michelle
Published: May 2017

This epilogue examines the Commune’s re-ignition in the 1960s. Returning to Endore’s likening of the uprising to a “free-for-all,” I argue that this conjuration—lacking the top down organization of a party, prone to spring up anywhere unannounced—would survive the reign of McCarthy and the crackdown that did so much to dissipate radical memory and, with it, 1871’s resonance in the U.S. I show how the story of the Commune that would survive the 1950s offered future radicals not so much a program as a promise—a memory of a revolutionary future that might be “vomited up” at any moment. I anchor my discussion in two pivotal eruptions of the Commune on campus: Mario Savio’s invocations of it during the Free Speech Movement demonstrations at UC Berkeley as a model of campus activism and taking “only what is ours,” and its more literal restaging five years later as student protestors at Columbia University turned to 1871 to make sense of their own cultural moment, dubbing themselves “Communards” as they reoccupied this once again vital and viral revolutionary past.
Intensive Narration: Ana Castillo’s The Mixquiahuala Letters
Authors: Askin Ridvan
Published: May 2017

The first chapter provides a close reading of Ana Castillo’s 1986 debut novel. Against the well-established view of the novel as staging a search for Chicana identity the chapter shows that The Mixquiahuala Letters constitutes nothing less than a voyage into difference itself. This diagnosis is based on the analysis of the novel’s three most salient aesthetic and poetic features, namely its epistolarity, its hypertextual form and its emphasis on dreaming and sleeping—all aspects that have garnered relatively little attention in Castillo scholarship, which tends to be thematic. The chapter shows how the thematic focus on identity politics that avails itself of ready-made concepts of cultural difference and hybridity not only misses the novel’s constitutive differential poetics but also its political thrust. This is the case because the novel’s politics precisely rests on its poetics, a poetics that advocates and enacts incessant differentiation and dynamic becoming rather than essential identification and static being. Casting “Mixquiahuala” against “Aztlán,” the novel proposes originary difference and repetition as its feminist antidote to Chicano male repetitions of identitarian origins. The novel achieves this by intensifying narration—by disrupting and breaking apart its own representational coherence—, laying bare its fabulatory dream poetics.
Every Man In and Out: Metadramatic Ideals and Harsh Realities
Authors: Angus Bill
Published: May 2017

This chapter describes how Jonson explores the legitimacy of metadramatic theatrical ‘devices’ in Every Man in His Humour, reproducing the negative structures of informing while modelling an interpretative ideal in which even the material authorities are made to appreciate the creative wit of the plotting author. Although haunted by many secretive misusers of information, all the play’s complaints will be laid at the feet of his mild arbiter. Every Man In reproduces its own material conditions of existence in this tension between the poetic authority of the genuine Horatian satirist and that of the truly authoritative interpreter. This chapter also explores Every Man Out’s metadramatic audience, who interpret the actions of pretentious character types parading exaggerated humours and thereby expose the venality of informing. In this Jonson pits the ideal veracity of the author against the potential voracity of the malcontent in ways which attempt to orient the offstage audience’s interpretation. Jonson’s authorial desire to manage interpretation is a significant element of his metadramatic practice, which relates to his personal experience of informers.
Falstaff, Hal, Coriolanus: Metadrama and the Authority of Policy
Authors: Angus Bill
Published: May 2017

This chapter contrasts Coriolanus’ dramatic austerity with the proliferation of metadrama around Hal and Falstaff. Coriolanus gives Shakespeare the chance to deal with authority and authenticity at a safe historical remove, while Falstaff’s metadrama addresses the relationship between authority and moral conduct in a popular and jocular format, as both authority and Vice. The relationship between the dramatisation of these characters reveals connections and disjunctions between an ideal of authoritative authenticity and the inevitable taint of ‘policy’, which is, as ever, mirrored in the drama’s most metadramatic modes. ‘Policy’ in these plays includes informing, self-counterfeiting, and the performative aspect of authority reaching to the very top. In metadrama, as in policy, the polites are at the heart of the drama and eliciting a positive interpretative response is the aim of each. Here the stability of the self-conscious subject is measured against the shifting sands of self-authorship and self-performance, with metadrama and informing as structural and thematic contexts.
Conclusion
Authors: Angus Bill
Published: May 2017

Abstract and Keywords to be supplied.
Introduction
Authors: Thain Marion
Published: May 2017

Starting with the idea of the late nineteenth century as a locus of ‘lyric crisis’, the introduction outlines established scholarly narratives of the relationship between poetry and modernity in the nineteenth century, and describes how the book will challenge these through its attention to aestheticist poetry. It goes on to explain the remit and choices made in the structure of the book (which is organized around three parts, each of which contains three chapters), and ends by situating the book’s methodology in relation to the fields of lyric studies and lyric theory. The overall aim of the book is stated as the analysis of the relationship between lyric and modernity prior to the better known story of poetic modernisation that occurs within high modernism in the first half of the twentieth century.
Parnassus and Commodity Time
Authors: Thain Marion
Published: May 2017

This second case study of Part I focuses on the English Parnassian revival, and, specifically, on Gleeson White’s definitive anthology of Parnassian poetry (featuring poets such as Graham R. Tomson, W. E Henley, John Payne and A. Mary F. Robinson). The chapter argues for the strict metrical structures of the Parnassian poet as engaging not in a nostalgia for a secure and orderly ideal of the past, but with the machine and commodity rhythms and forms of the ‘second’ industrial revolution. This engagement with the past in fact a means of engaging with the present. Ultimately asking what kind of historicism the new Parnassians were practicing in their borrowing of medieval French forms, the chapter finds models that speak to Benjaminian, post-Enlightenment, ideals, and move lyric away from the older, Hegelian lyric temporalities.
Desire Lines: Subjectivity and Collectivity
Authors: Thain Marion
Published: May 2017

Chapter 8 is the first of three chapters that make up ‘Part III’ of the book. This part focuses on issues of lyric subjectivity. As the first chapter in this part, Chapter 8 builds a conceptual and theoretical basis that will underpin the poetic case studies offered in the subsequent two chapters. This chapter sets up a frame that positions aestheticist lyric between the legacy of an introspective Hegelian lyric subjectivity that surfaced in British Romantic poetics, and the growing anxiety that prompted the discovery of more communal poetic forms within lyric. Complicating scholarly narratives that see mid-century dramatic monologues as the quintessential nineteenth-century response to such anxieties, this chapter proposes the model of ‘desire lines’ (taken from urban geography) to recognise the capacity of lyric poems of the period to invoke models of lyric chorus, rather than lyric solipsism.
Republics of Difference: Yeats, MacGreevy, Beckett
Authors: Lloyd David
Published: May 2017

This chapter focuses on Beckett’s relation to Irish painter Jack B. Yeats and their mutual friend, art critic Thomas MacGreevy. It explores Beckett’s debate with MacGreevy about Yeats’s work and shows that while they disagree about the question of nationalist aesthetics, they concur in seeing the formal difficulties of the painter’s late work a kind of aesthetic republicanism. Yeats’s work is seen as furnishing the models for Beckett’s early theatre of the image in Waiting for Godot and Endgame and for the recalcitrance of his drama to interpretation.
‘Siege Laid Again’: Arikha’s Gaze, Beckett’s Painted Stage
Authors: Lloyd David
Published: May 2017

Chapter 3 explores Beckett’s relationship with the Romanian-Jewish painter Avigdor Arikha. After long practicing as an abstract painter, in 1965 Arikha committed himself to working “from observation”. His painting breaks with the traditions of Cézanne and Matisse, and was inspired by his discovery of Caravaggio. The chapter analyzes Arikha’s painting and Beckett’s later theatre through their shared aesthetic values and common interest in Caravaggio. Beckett’s plays like Come and Go, Footfalls and Not I are viewed as the realization of tableau and as a staging of the emergence of the human as thing.
Conclusion: The Play’s the Thing
Authors: Lloyd David
Published: May 2017

The conclusion focuses on Beckett’s late quasi-political plays, Catastrophe and What Where, seeing them as plays that use tableau as a means to dismantling the sovereign positioning of the spectatorial eye in the theatre. Beckett’s preoccupation with the thing is seen as rigorously contemplating the consequences of late capitalist reification and as implying the grounds for alternative possibilities for imagining life in common.
Introduction
Authors: Polat Necati
Published: May 2017

This chapter rehearses an answer to the following question: how did the pursuit of ‘advanced democracy’, as initially promised, develop into a new form of authoritarianism in Turkey, more than replicating the old one, shortly after the former regime was no more? The chapter describes a ‘loop’ throughout the history of political modernisation locally, notwithstanding some dramatic splits and reshuffles, ultimately submitting to a more profound level of recurrence and cloning of ‘desire’ in a common pool of amazingly resilient local political culture. In putting forward this contention, the discussion relies on Girard’s work on the machinations of basic human desire. Accordingly, desire is notably mimetic, modelled on the other. The model is none other than the ‘rival’, held subliminally in esteem, while being detested at the same time. The chapter argues that the new, populist authoritarianism in Turkey could be understood as a play of desire in this mould.
What Changed?
Authors: Polat Necati
Published: May 2017

This chapter provides an outline of the change that took place in Turkey between 2007 and 2011, signalling a historic shift in the use of power in the country, long controlled by a staunch and virtually autonomous bureaucracy, both military and civilian, and known as ‘the state’, in the face of the chronically fragile democratic politics, forming ‘the government’. The time-honoured identity politics of the very bureaucracy, centred on ‘Westernisation’ as a policy incentive, was deftly appropriated by the ruling AKP via newly tightened links with the European Union to transform the settled centre-periphery relations often considered to be pivotal to Turkish politics, and reconfigure access to power. The chapter details the gradual fall of the bureaucracy—that is, the military, the higher education, and the system of high courts—and recounts the basic developments in foreign policy and on the domestic scene during and immediately after the change.
Run-up to Change
Authors: Polat Necati
Published: May 2017

The chapter describes the fascinating realignment in Turkish politics with the rise of the AKP into power from late 2002, distancing itself from the Islamist politics (‘Islamo-nationalism’, Millî Görüş) of most of its founders, and drawing on ‘Westernisation’ through strengthened ties with the European Union. The usual cast of local identity politics that relied on rather cynical exploitations of various identity demands—the secularist republicanism (Kemalism), Turkish and Kurdish nationalisms, and Islamo-nationalism—seemed significantly to recede in society in the spell between 2002 and 2007 in favour of a set of civic, non-divisive political gestures around the reintroduced goal of integration with Europe. The projected ‘European’ identity would prove to be a unique leverage in bringing about the coming change. It would expand the electoral compass of the ruling AKP beyond the former identity alignments, ensuring widening reach, and, equally importantly, prompt ambivalence in the bureaucracy, considerably breaking its resistance.
Resistance to Change
Authors: Polat Necati
Published: May 2017

Of the apparent stamina of resistance to change, not only in Turkey but also in the Middle East, this chapter argues that treating the draconian regimes in the greater region as mere vestiges of native authoritarianisms lacks insights into the ostensible strength of those regimes. Accordingly, a characteristically ‘modern’ rationality could be implicit in the project of forced emancipation that largely defined the despotisms in the region during the Arab Spring. Motivated by a unique ‘liberation theology’ to save the locals ‘from themselves’, the regimes enforced ‘modernity’ in the face of traditional identities and practices. Promising autonomy from the tutelage of the local, this theology not only manufactured a crucial element of consent in respective domestic societies, but also brought together strands of global thinking, all possibly motivated by a normative commitment to modernity, ultimately in favour of those authoritarianisms: the Turkish neo-nationalism (ulusalcılık), the US neo-conservatism, and Dugin’s Eurasianism.