Urbanizing the Iranian public: text,Tehran and 1922

By using the heuristic device of transpatialization and the methodology of urban cultural studies, this article argues that the 1922 serialized novel Tehrān-e Makhuf (Dreadful Tehran) by Seyyed Mortaza Moshfeq-e Kazemi (1902–1978), with its distinctly urban modes of imagination and production, at once reflected and propelled a process that can be termed the urbanization of the Iranian public. The article analyses the literary techniques with which Moshfeq contributed to this process; the circumstances and context in which the novel was produced; and the ideological change reflected in the author and his work. The article thus sheds light on a crucial stage in modern Iranian history by unravelling some of the socio-spatial intertwinements that made that history.     

The Rise of Capital and the Necessity of Political Economy

Indonesia: The Rise of Capital by Richard Robison is regarded as one of the most important books in the study of modern Indonesia. It was also a major instigator of a turn toward political economy in the scholarship on Southeast Asia, more generally in the 1980s. This introductory article to the current feature issue examines the context that made the writing of The Rise of Capital an intellectually necessary endeavour. It also explores the book's relevance to developments in three broad areas of academic debate within which the book can be situated.     

When the Walls Come Crumbling Down: The Monarchy and Thai-style Democracy

Although many people date critical commentary on the Thai monarchy to Paul Handley's explosive biography The King Never Smiles: A Biography of Thailand's Bhumibol Adulyadej, this article demonstrates the existence of a consistently critical body of work, in the English language, that emerged contemporaneously with the king's growing stature from the 1980s. It also considers the conditions that have led to wider and more vocal criticisms since the coup of 2006. The primary focus is an exploration of new contributions to this critical commentary by the authors of the edited collection Saying the Unsayable: Monarchy and Democracy in Thailand. It identifies tensions across the chapters, including different emphases on liberalism and conservatism, and on the symbolic functioning of the monarchy.     

Coetzee’s stones: Dusklands and the nonhuman witness

Bringing together theoretical writing on objects, testimony, and trauma to develop the category of the “nonhuman witness,” this essay considers the narrative, ethical, and ecological work performed by peripheral objects in J. M. Coetzee’s Dusklands (1974). Coetzee’s insistent object catalogues acquire narrative agency and provide material for a counter-narrative parody of first-personal reports of violence in Dusklands. Such collections of nonhuman witnesses further disclose the longer temporality of ecological violence that extends beyond the text’s represented and imagined casualties. Linking the paired novellas of Dusklands, which concern 1970s America and 1760s South Africa, the essay finds in Coetzee’s strange early work a durable ethical contribution to South African literature precisely for its attention to nonhuman claimants and environments.     

In Search of Native Dissidence: RT Kawa’s Mfecane Historiography in Ibali lamaMfengu (1929)

Abstract

This article situates RT Kawa’s Ibali lamaMfengu (1929) as a canonical text of South African historiography, and mfecane historiography in particular. In Ibali lamaMfengu, Kawa attempts to give an account of the origins of amaMfengu clans, who were Mfecane refugees, as well as their political situation, when they were incorporated into the Gcaleka kingdom of King Hintsa in the 1820s and 1830s. Kawa’s work is significant in clarifying key disputes on the origins of amaMfengu although is not comprehensive in detailing their early life amongst amaXhosa. Although a key text, its analysis was not only excluded, but rejected by ‘‘mainstream’’ South African historians in the 1980s and 1990s. This omission resulted in dominant scholarly versions of the Mfecane dismissing the validity of the interpretations and analyses of African writers, in effect, rendering Mfecane historiography a ‘‘white-only’’ debate. I demonstrate in this article that Kawa’s work is in fact, a valid and persuasive history of amaMfengu, and is largely accurate on the basis of their origins, their life under chief Hintsa, and the reasons for their exodus from amaXhosa, that led to their loyalty pledge to the British in 1835.     

Institutional journalism in a revolutionary crisis: the press as an aide to the Muslim Brotherhood 2011–2012

This article is based on the hypothesis that the Egyptian institutional media played an active role in the Egyptian ‘Arab Spring’ revolution in 2011 and analyzes how Egypt's official newspapers constructed and presented a moderate and positive image of the Muslim Brotherhood (hereinafter the Brotherhood) despite the fact that they had labeled the Brotherhood ‘the outlawed movement’ a year earlier. In order to examine whether their attitudes changed after the downfall of the Mubarak regime, a critical discourse analysis of newspaper texts has been made of the news columns written throughout 2011 of two of the most popular Egyptian newspapers – al-Ahram (n = 115) and al-Gumhuriyya (n = 94) both of which identify with the Egyptian government's official policy. In addition, an analysis made of three of the Brotherhood's publications (n = 72) (N = 281) revealed that the Brotherhood exploited the printed media not only to replace the regime but also to gain control of its narrative. Ultimately, by controlling the shaping of public opinion, the media contributed to the drawing of a parallel between the motivation that formed the basis of the mass protest and the Brotherhood's agenda.     

“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.     

Adrià Gual as illustrator,stage and costume designer

Catalan playwright, director and teacher Adrià Gual was a key figure in the development of modernista theatre. With his emphasis on theatre as artistic synthesis, Gual's multi-faceted work mirrors that of other European innovators and lays the path towards theatrical renovation in Catalonia and in Spain more generally. The visual element is a key component of his approach, and is reflected in his costume designs and illustrations to printed play texts. This article considers his work in two areas: Oscar Wilde's Salomé – perhaps the archetypical Symbolist play – and the commedia dell'arte spectacles he devised for performance in 1912 and 1927. The article also considers Salvador Dalí's set design for the latter, and allows us to highlight connections with the theatre design work of other avant-garde artists.     

Spain and the antipsychiatric aesthetic

This article outlines a family resemblance in the work of authors and film-makers of the 1960s and 1970s in Spain. In the light of the international zeitgeist most often termed “antipsychiatry,” the works of Michel Foucault (1926–1984) and R. D. Laing (1927–1989) make up the critical focus for the formulation of an “antipsychiatric aesthetic” in Spanish literature. In the novels Tiempo de silencio (1961) by Luís Martín-Santos (1926–1964) and Volverás a Región (1967) by Juan Benet (1927–1993), and the film El espíritu de la colmena (1973) directed by Víctor Erice (1940–), this antipsychiatric aesthetic explores the relationship between doctor and patient in poetry as Scottish antipsychiatrist R. D. Laing had in practice. Contemporary to Foucault and Laing’s critique of the managerial doctor figure, these three texts re-enact this critique and extend its remit to embody the reader–writer/author–text/text–reader dialectic. Consequently, a specifically Iberian school of critical theory becomes apparent, that responds to the existential writings of Miguel de Unamuno (1864–1936). Embedded within these poetics are attempts to reframe the ontological anxieties that stem from a subjective experience of silence and control.     

Gender and ethnicity in the Soviet Muslim peripheries: a feminist postcolonial geography of women’s work in the Tajik SSR (1950–1991)

ABSTRACT

This article explores the articulation and experience of Soviet gendered ideology regarding work in the Tajik SSR, one of the Muslim Soviet peripheries, during the post-war period ending with Perestroika. Central Asian women’s work was used for economic purposes, as well as being a key driver for fulfilling the ideological objective of emancipating Central Asian women from religion and tradition. Through a feminist postcolonial geography approach, attentive to questions of discourse and material lived experiences, this article explores the ways in which gender and ethnicity were co-produced by Soviet ideology. Analysis of scientific publications produced by Tajikistani female researchers, and of women’s magazines from the 1950s, is contrasted with ethnographic data on workers from various collective farms and semi-urban places, including ‘work heroines’ (peshqadam). Our findings illustrate the hybrid nature of the Soviet regime, advancing theoretical debates on the use of postcolonial theory in Soviet Central Asia.     

From Socio-nature to Spectral Presence: Re-imagining the Once and Future Landscape of Johannesburg

What distinguishes the global novel from other kinds of boundary-crossing narrative? And why are there so few examples of this genre from South Africa, a country of such salient worldwide interest? This essay reads Mark Behr’s 2009 novel Kings of the Water as a conflicted attempt to globalize South African literature, specifically the farm novel or plaasroman. In contrasting the complexity of the work’s South African setting with its under-developed representation of San Francisco, it traces Behr’s problematic relation to conventional thinking on global émigré fiction. The essay concludes that Kings of the Water is a timely case study in the ethical challenges of locational fixation, one that through its narrative configuration questions the dominance of the transnational paradigm.     

The Concept of “the State” in Modern Political Thought

Quentin Skinner's magisterial The Foundations of Modern Political Thought was first published in 1978. A commemorative volume appeared almost thirty years later. My aim in this paper is less to revisit this last discussion by questioning either the importance or the impact of Skinner's book, both of which seem to me undeniable, than it is to unsettle a few of the assumptions that not only inform The Foundations and much of the work that it inspired, but which are all too often taken for granted. In particular, I note some limitations both of Skinner's use of the term “modern” and of his understanding of political thought before concluding that it may be time to reconsider the category of modern political thought.     

The origins of the Vietnamese revolution: Taking the long view

Abstract

Americans knew little about Vietnam when they assumed command of the Indochina War in 1954. There were no American scholars who devoted their careers to its study, and, with the exception of Virginia Thompson's French Indochina and a few other works, there was no American body of work on the subject. And so, to better understand the political and social forces confronting them, Americans took possession of the entire French work on Vietnam as part of their legacy of war. Thus, as the first American scholars began to study the Vietnamese revolution, they built on the foundation laid by decades of French scholarly effort.     

Perviy Kanal's Trotsky and the “Atlanticisation” of Leon Trotsky's Legacy*

Trotsky, an eight-part miniseries made in 2017 for the centenary of the Russian Revolution, has recently been made available on Netflix for global audiences. This article analyses Trotsky through the theoretical lens of neo-Eurasianism, especially as developed by the political theorist Aleksandr Dugin. Dugin's philosophy posits a civilisational divide between the “Atlantic” values of secularism, open markets, cosmopolitanism and sexual profligacy represented by the Anglo-Atlantic cultural sphere, and the “Eurasian” values of authoritarianism, cultural conservatism and religious nationalism present in a revived Russia. I argue that Trotsky's interpretation of Leon Trotsky's legacy reflects the popularisation of Dugin's neo-Eurasianist political philosophy in Russia. The article covers some of the key historical events depicted in Trotsky, discussing their accuracy with reference to existing academic biographies of Leon Trotsky. I then discuss the series’ apparent fixation on the Jewish heritage of Trotsky (who was born Lev Bronstein), which has been the focus of much of the media coverage of the series, before addressing the fraught place that Trotsky occupies in Russian historical memory. I then move on to a discussion of the political philosophy of neo-Eurasianism and its relevance and application to the political climate of modern Russia. Finally, I consider what Dugin has said about Trotsky himself. Despite (or perhaps because of) its distortions of history, the series serves as a fascinating reflection of the values and political climate of modern Russia.     

“Saint Jack”

Abstract

Billed as “a Casablanca for the 1970s,” Peter Bogdanovich's Saint Jack immediately evokes the Bogart classic. Ben Gazzara plays an American expatriate living in Singapore, involved fairly lucratively and with a definite panache in the business of pimping for a stable of Asian beauties. As with Rick, the hero of Casablanca, Jack's background and how he got where he's at are initially obscure. He tells us that he's an Italo-American from Buffalo, and we later leam that he came to Singapore as a seaman, liked the place, and stayed to establish his procurer's street mini-empire. There is, to be sure, the Bogart touch. I have not seen enough of Gazzara's character acting to know if this is his stock in trade, but if it is, then Bogdanovich has selected him shrewdly for the lead role. If it is not, then surely Gazzara has made a studied effort at reproducing the smart-mouthed, straight-from-the-shoulder, tough-guy with-a-heart-of-gold character which made Bogart famous. Unlike Casablanca's major protagonist, however, there is no secret past which catches up with Saint Jack, no reappearance of an old lover whose arrival on the scene peels back the covers from a beshrouded past. All we ever know about Jack is that, for all his gregariousness, his free hand with cash, and seemingly genuine endearment to a host of Chinese acquaintances, he is a loner, a “nowhere man” who abhors commitments, especially to the women he attracts.     

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.     

Capturing Brazilian society in movement: from cordiality to circulation and “spaces between” in Maria Augusta Ramos’s Futuro junho (2015)

ABSTRACT

This article analyses Maria Augusta Ramos’s 2015 observational documentary Futuro junho (Future June), filmed in the Brazilian city of São Paulo in the lead-up to the 2014 FIFA World Cup. Taking as its starting point a connection, established by one of the film’s four main “characters,” or subjects, between Brazilian historian Sérgio Buarque de Holanda’s influential work on cordiality and the idea of circulation between public and private spheres, the article explores how circulation (economic, urban, media, and cultural) is portrayed in the documentary, as well as how it foregrounds both spatial and temporal movements. This is complemented by a discussion of the film’s own circulation through attention to critical reviews which have debated the film’s success in documenting, in a timely way, a national conjuncture characterised by crisis and conflict as well as unpredictability and rapid change. The article argues that by imbricating and intertwining multiple cultures of circulation, and by drawing attention to the varied economic and urban experiences of its characters and the spaces between them, Futuro junho captures a Brazil in flux.     

Ghosts in the Shell: On South Africa,the USA and Japan

This article surveys American literary responses to the rise of Japan as an economic power during the period from the late 1970s to the early 1990s, and examines how these responses were anticipated in the writings of the South African author Laurens van der Post. Paying particular attention to van der Post’s autobiography, Yet Being Someone Other (1982), I suggest that the author’s formative experiences aboard a Japanese trading vessel in 1926, coupled with South Africa’s close-knit trading relationship with Japan in the 1980s, enabled a perspective on Japan’s economic ascendancy that was markedly less reactionary than those in the USA. By emphasizing the historical contexts that held true at the time of publication, I situate Yet Being Someone Other in a framework that deliberately circumvents—without necessarily confronting—van der Post’s preferred version of his life story. Rather than “recovering” the author’s ‘place in the canon of South African literature, this article is intended to incorporate the author’s work into ongoing discussions of the representation of Japan and the Japanese in twentieth-century Anglophone writings.