Hygienic beauty: discussing Ottoman-Muslim female beauty,health and hygiene in the Hamidian Era

This article examines discussions on Ottoman-Muslim female beauty, health and hygiene in the Hamidian Era (1876–1909). Analysing the Hamidian popular press, advice literature and textbooks for girls, the article argues that these discussions were more than just female ‘physical culture’ debates, involving larger issues of late-Ottoman regeneration. Wars, epidemics, massive migration movements and fluctuations in population pushed the late-Ottoman state to create healthy generations as a productive force to secure the Empire's future in general and the Ottoman Muslim population's welfare in particular. Maintaining good health expanded from a religious obligation into now also becoming a patriotic duty incumbent upon Ottoman subjects knowing and applying modern hygienic principles. Focus on Ottoman-Muslim women's procreativity shifted female beauty into a public discussion, now defined as a reflection of health. The new hygienic beauty discourse distinguished between preserving vs. harming one's health in the face of Western fashions and cosmetics: healthy beauty mirrored a ‘good complexion’.     

Cast in stone: art,race, and the body at South African universities

ABSTRACT

I started my fine art training in the 1990s at the university currently known as Rhodes.* The foundation of art training was drawing. First year focused on two subjects: the European plaster cast and the nude black model. This practice situated my learning of art in the European past as well as the South African present. Drawing on black feminist thought I show that framed by colonial norms the black body was a humiliated and abject subject. She was a racial stereotype rather than an object of beauty. Recent protests at universities specifically targeting art, confirms a deep dissatisfaction amongst students with colonial epistemic knowledge and value systems. By rejecting the colonial and apartheid legacy of universities younger generations use protest action as a means to demand urgent change.     

Parroting the past: historical continuity and change through cultures of cruelty in Brazil

ABSTRACT

In the recent Brazilian Netflix series 3% (Aguilera 2016), international audiences were presented with an array of visual reminders about the legacy of historic human rights abuses in Brazil. With the image of the pau de arara as a point of historic and semiotic reference, this paper adopts evidence and ideas from New Capitalist History to extend the interrogation of the historical memory of torture in Brazil in particular, to the rise and predominance of coercive practices in workplace cultures in free societies in general. This interrogation demonstrates the need for paradigm shifts within Western academic disciplines. First, to re-locate historically modern slavery in political philosophy as central to conceptions of “evil,” and second to overturn the notion of discontinuity and incompatibility between slavery and capitalism. Throughout this interrogation, a short story by Machado de Assis and Lissovsky’s critique of processes of memorialisation of human rights abuses open up the possibility of revisionist thinking about technologies of power, under slavery, military rule, and democratic regimes in Brazil; an approach which suggests systematic and sustained “cultures of cruelty” past and present (Giroux).     

Imagining a dialectical African modernity: Achebe's ontological hopes,Sembene's machines,Mda's epistemological redness

In Chinua Achebe's book of essays Hopes and Impediments, he asserts that Nigeria's failure to ‘develop’ and ‘modernise’ like Japan is because of a ‘failure of imagination’. Yet for many Africans, modernity is a tainted ‘gift’ because it was introduced into the African continent along with European colonial capitalism which simultaneously caused an ontological crisis of self. Although many Africans want to ‘catch up’ with the West, how is it possible when Western technological superiority was equated with white racial superiority? Achebe declares that, as Africans ‘begin their journey into the strange, revolutionary world of modernization’, literature should function as guide. Hence, I examine Ousmane Sembene's novel God's Bits of Wood which depicts Africans laying claim to ‘race-less’, ‘language-less’ ‘machines’. But does (Western) technology change culture? Can African culture appropriate technology to form a dialectical African modernity? If so, what role does ‘tradition’ play? In Zakes Mda's The Heart of Redness, we witness the emergence of a traditional modernity made possible by a dialectical epistemology.     

“Don’t tell me this isn’t relevant all over again in its brand new same old way”: imagination,agitation, and raging against the machine in Ali Smith’s Spring

ABSTRACT

This paper explores the third novel in Ali Smith’s seasonal quartet, Spring. Using Achille Mbembe’s Necropolitics as a conceptual frame, I analyze Smith’s rendering of a Britain grappling with Brexit in times of transnational populism. As with Autumn and Winter, Smith’s prose is saturated with intertextual borrowings from pop and “high” culture, also interrogating the links between “nanoracism” and the “immunity and community” knot (Dillet). This paper reads Spring alongside Smith’s contribution to and advocacy of the Refugee Tales project regarding the diverse discourses surrounding migration, xenophobia, and indefinite detention. Smith’s writing traces the darkness of our populist present with its rhetorical and material violence, as well as the possibilities for creative response and resistance. I argue that her seasonal quartet to date and her work with Refugee Tales aesthetically and ethically defend the principle that human dignity, both individual and collective, rests on the ability to tell stories.     

Black is Beautiful: cuerpos negros en Triunfo

Spaniards and African-Americans share significant cultural memories forged by the profound impact that various artistic and historical events had on each other during the twentieth century. To contribute to an exploration and understanding of these shared memories – which have received relatively little scholarly attention – this essay focuses on the presence of Black America in the 1960s, that is, the period of Late Francoist Spain. More specifically, it intends to initiate the study of the impact of the Black Civil Rights and Black Power movements on Spain’s progressive press. Focusing on a selection of articles published in the iconic leftist magazine Triunfo, it examines how the traditional European fascination with blackness manifests itself during the 1960s. In Triunfo’s articles we encounter suffering, violent, and degraded bodies, as well as revolutionary, political, and eroticized bodies. This combination reveals the problematic coexistence of solidarity and inspiration with an ethnographic and voyeuristic gaze that perpetuates the spectacularity of black bodies for global consumption. While foregrounding the challenges posed by writing and representing the Other, this study is also an attempt to reconstruct more fully the 1960s cultural and intellectual history of Spain and to approach the black liberation struggle from a transnational perspective.     

从传统文化探析日本人的和谐观

日本传统文化不仅揭示了日本的历史变迁、社会风貌与生活艺术,更渗透着日本人的思想体系与价值观念。"和"是日本社会价值体系中最重要的价值观。它根植于日本传统文化,是贯穿于日本传统文化的主旋律。纵观日本传统文化,追求和谐的理念与境界不断缔造着"和"之韵与美,更构建着日本人的和谐观。     

On Music,Censorship, and Globalization

Malik Bendjelloul’s music documentary, Searching for Sugar Man (2012), uses the narrative of its central figure, American rock “n” roll musician Sixto Rodriguez, to allegorize South Africa’s emergence from censorship and isolationism to a post-apartheid and increasingly transnational dispensation. I look at the cultural politics of apartheid-era censorship in attempt to account for Rodriguez’s cult appeal in South Africa, despite his artistic shortcomings and his obscurity in the USA. I then focus on the film’s final concert sequence, featuring Rodriguez’s first South African performance, which Bendjelloul subtly positions as a moment of celebration over the new possibilities enabled by the demise of apartheid and the rise of an increasingly integrated global culture.     

Disciplining Society through the City: The Genesis of City Planning in Brazil and Argentina (1894–1945)

This paper looks at the genesis of a discourse on urbanismo (city planning) in Brazil and Argentina between 1894 and 1945 using the ideas of Michel Foucault on discipline and his concept of bio–power. The demographic pattern of the major cities in both countries from 1890 onwards and the renewals of the centres of these cities are also discussed. Other sections are dedicated to the plans proposed for the same cities in the 1920s and to urban representations, such as ideas about social reform, the role of hygiene as a point of departure for planning, and the relationship of ideas on Taylorism (scientific management) and the city. The paper also discusses the planners opposition to elections, when they claimed that they were the only ones qualified to deal with urban problems and therefore they should be employed in the state apparatus.
Other concerns of the paper are the use of planning as an element of nation building and ideas defining eugenics (race 'betterment') as an important aspect of city planning. I conclude by arguing that, if implemented, city planning was a way of creating an industrial culture, disciplining society through the city, although the industrial proletariat has never made up the majority of the population in Brazil or Argentina. Even if many aspects of the plans proposed for both countries were not implemented, the discourse of planners can be seen as a will to discipline society through the city. This discipline would affect the freedom of movement of human bodies, and is therefore approached through Foucault's concepts of bio–power and discipline     

Borders Inscribed on the Body: Geopolitics and the Everyday in the Work of Martín Kohan

This article analyses the critique of militaristic geopolitical worldviews in two novels by Martín Kohan (Dos veces junio, 2002 and Ciencias morales, 2007). Drawing on ‘everyday nationalism’ and the insights of feminist geopolitics, it explores these novels' use of space and gendered violence to present Argentina's 1976–1983 dictatorship and the Falklands/Malvinas war as unexceptional manifestations of the relationship between the state and its citizens. This reading foregrounds Kohan's emphasis on the origins and consequences of national identity discourses, framed as powerful narratives capable of generating a vision of the nation-state that privileges the security of borders over bodies.     

MEDIA,IDENTITY, AND STRUGGLE IN TWENTY-FIRST-CENTURY CHINA

The experience of international migration is generally found to turn migrants into culturally hybrid communities. Yet, migrant communities often hold on to their religious moorings even as they relocate. From the 1970s onwards, the emerging leadership of Hindu settlers in Denmark consciously tried to transfer with them what they saw to be key aspects of Hinduism as they migrated to Denmark. In 1985, Hindus organized a major conference to position the Vishwa Hindu Parishad (World Hindu Council) as the umbrella organization for Hinduism in Denmark. Later on they established a Temple of Indians called Bharatiya Mandir to provide a place of worship for local Hindus. The philosophy behind the temple conformed to the nondenominational Hindu nationalist vision of Hindus as a unified community. This article, which contrasts the aim of Hindu nationalism with the on-the-ground realities of Hindu mobilization in Denmark, reveals that two major factions spearheaded Hindu nationalist endeavors in Denmark from the 1980s until 2006. The two factions successfully launched several projects, and even collaborated in their execution, but the initiatives were beset with rivalries that hampered the communal unity they had set out to achieve. The authors analyze this factional rivalry as an expression of Indian political culture, arguing that tensions among Hindu activists in Denmark is an instance of the political factionalism prevalent in the Indian subcontinent. The unintended emergence of such factionalism represents the successful transfer of a core element of Indian political culture to a new locale through Hindu nationalist politics. The authors base their argument on field observations since the 1980s, recent interviews with key religious players, and more than two hundred pages of written materials that offer a rare entry point to the study of Hindu nationalism ex situ.     

Desire,Misogyny, and Official Power in Mark Dornford-May's U-Carmen eKhayelitsha

As the most frequently adapted narrative in film history, the story Carmen – based originally on Proper Mérimée’s 1845 novella and George Bizet’s 1875 opera of the same name – offers differing response to various intertextual debates concerning feminism, sexual freedom, interracial relations, high versus low art, and urbanism versus ruralism. This paper situates a recent Xhosa language, cinematic adaptation of the Opera, Mark Dornford-May’s U-Carmen e-Khayelitsha (2005), in response to these various cultural critical debates, while invoking previous critical discussions of American Carmen adaptations, by Charles Vidor and Otto Preminger respectively, as templates for furhter analysis. I argue that Dornford-May’s film offers a self-reflexive, and indeed progressive, response to the Carmen narrative’s contradictory ideological stance on issues of female sexual empowernment and misogny. U-Carmen also downplays the themes of interracial romance and rural nostalgia present in previous Carmen adaptations, so as to hone in on the various intra-township dynamics at work within the Khayelitsha communiy that the film depcitrs. U-Carmen offers a cynical depiction of the post-apartheid township society in which romantic and sexual freedom are presumed to be at odds with the forces of official power. When placed within the context of the post-apartheid Khayelitsha mileau, the failure of Carmen’s rebellious, anti-authoritarian, and romantic disposition comes to symbolize the unfullfilled promises of the post-apartheid era.     

The Karoo and eco-inflections of fracking: preliminary notes on literary imagination

The awareness of the “planet in peril” has never been more acute in a South African context than today, when the imminent extraction of shale gas through the process of hydraulic fracturing (known as “fracking”) in the Karoo has gained traction in the public mind. At least two broad dimensions are involved. The first, based on the logic of petro-modernity and its profligate culture, is framed within a seductive, neoliberal narrative of industrial progress and economic development. The second is framed as outright resistance to the inevitable environmental damage caused by this petro-industrial venture. This study reflects on how literature might intervene in this bipolar debate. Alfred Jackson’s Manna in the Desert, Pauline Smith’s The Little Karoo, and Etienne van Heerden’s “Poison Karoo” employ the trope of water to stimulate an ethical vision. Materially, water is imagined in its apparent scarcity as a feature of the delicate ecosystem of the Karoo, a vast arid landscape of drudgery, where life forms compete for the limited resource. Allegorically, water signifies as safely concealed, subterranean abundance. The Karoo, possessing more than its external features account for, is a place of beauty and mystical presence where life is sustained and preserved. It is within these significations that the environmental and social repercussion of fracking is inflected. Literature can bridge the divide between the narrative of progress and the counternarrative of ecological consciousness by way of highlighting their contradictions. But it also complicates these contradictions by valorizing their ethical potentiality.     

Women,writing and politics in Sonallah Ibrahim's That Smell and Notes from Prison

In That Smell and Notes from Prison, Sonallah Ibrahim engages literary and feminist discourses in his political narrative against the Nasserist regime and the culture of commitment (iltizam) of the 1960s. Ibrahim's antihero is a newly released writer who is faced with the challenges of overcoming his failure to connect with women and society, and find a motivation to write. He realizes that most readers, writers and critics are not in favour of his literature of exposé, which refuses to depict or treat the ugly reality as a beautiful one. In foreshadowing the 1967 defeat and the impotence of Arabs, That Smell and Notes from Prison warns of a prolonged cultural and literary decay should political corruption override basic human and women's rights in the Arab world.     

Spectacles of Dystopia: Lauren Beukes and the Geopolitics of Digital Space

Lauren Beukes’ latest novels—The Shining Girls (2013) and Broken Monsters (2014)—present forays into new generic and geopolitical spaces, shifting from the Joburg and Cape Town-based “allegorical apartheids” of the science-fictional texts Moxyland (2008) and Zoo City (2010) to supernatural crime novels set in dystopian American cities. This paper explores the productive tension between the global and the local in her body of work, framed within the concepts of “developing world” science fiction and the figure of the hybrid. I argue that the esthetics and generic conventions of “cyberpunk” often associated with Beukes animate a seemingly ubiquitous dystopian space. Her writing explores the dissemination of commercial icons, visual fads, and digital pop-objects around and within global bodies: networked, linked electronically, and sometimes physically in what I suggest comes to form the illusion of a digital, dystopian everywhere, relentlessly performing transcendence of locality.     

No solid ground: Max Aub’s roots and routes

While Max Aub’s unique and prolific body of work has been the subject of numerous studies and monographs, his work remains undervalued in transnational contexts. An analysis of two of his plays, San Juan (1943) and El rapto de Europa (1946), and a collection of poems, Diario de Djelfa (1944), makes it possible to rethink the ways in which aesthetic projects, produced either during World War II or shortly afterwards, reveal a geography of the war’s forced displacements, in which the Spanish Civil War, European colonialism in North Africa, and its enduring postcolonial remainders become the most important landmarks. While the present analysis centers on Aub’s routes between Spain, France, Algeria, and, finally, Mexico, a persistent yearning for roots, for a sense of belonging, or, to use one of his characters’ words, for “solid ground” haunts his writing. The interplay between roots and routes therefore makes it possible to consider Aub’s work in a postcolonial context and within a transnational memory.     

The sketch of Brazil’s grand strategy under the Workers’ Party (2003–2016): Domestic and international constraints

After passage of the 1988 Constitution of Brazil, successive democratic governments worked to build bridges between the nation’s foreign policy and its defence strategy, thus fostering a dialogue among administrations and constituencies under the aegis of the rule of law. It was under the Lula da Silva and Dilma Rousseff administrations that Brazil laid out a grand strategy, implementation of which was interrupted by the controversial impeachment proceedings of 2016. The argument unfolds from a consideration of Brazil’s development model and domestic politics as key structural variables in analysing the challenges faced in the conception and implementation of its grand strategy. The article is organised into two sections: (1) The sketch of a grand strategy: when Brazil’s foreign and defence policies converged; (2) An ambition frustrated? Or, the impact of Brazil’s development model and domestic politics on the conception and implementation of its grand strategy.