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.     

“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.     

Decolonising Europe? The Colonial Boomerang

The hidden secret at the core of Michael Haneke's remarkable film of that name is Georges Laurent's denunciation of a young Algerian boy who found refuge on his relatives’ farm after his own parents had perished in the infamous 1961 Paris massacre. In a bizarre return of the repressed, the memory of this betrayal invades and destroys his affluent bourgeois existence forty years later. In this article, I attempt to link this return to the “colonial boomerang” of the suburban revolts of 2005 (and 2007) and the “official” occlusion of past crimes against humanity most clearly shown in the case of Maurice Papon, in which the betrayal of France's Jews and the massacre of Algerian demonstrators merge on the grounds of the Veld'Hiv.     

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.     

Noucentisme's “arbitrary” nature in the Mont-roig landscapes of Joan Miró (1918–1922)

The purpose of this article is to discuss the development of Joan Miró's aesthetics between 1915 and the early 1920s, and to offer an interpretation of a series of landscapes that he painted between 1918 and 1922, by highlighting their similarities with some of the landscapes described by Catalan writer Josep Pla in his Obra completa. Both Miró's and Pla's landscapes are situated within the context of Noucentisme and, more particularly, of Noucentisme's classicist aesthetics as defined by Eugeni d'Ors in his Glosari.     

Troubling frames: Zapiro’s iconography on Oscar Pistorius as traumics

ABSTRACT

This study aims to examine the comics form in relation to its representation of perpetrator trauma. Specifically, the study considers a selection of Jonathan Shapiro’s iconography on Oscar Pistorius as biograph(y)ics, since the artist ‘commixes’ Pistorius’s life from his rise to athletic fame – through the court trials for his alleged murder of Reeva Steenkamp on 14 February 2013 – to his conviction followed by a thirteen-year jail sentence on 24th November 2017. In my reading of the panels, I draw on Hilary Chute’s notion of the ethics of testimony in illustrative art and Jacques Derrida’s theorising on hauntology and the revenant to argue that wrongdoers can also experience their crimes as trauma. This critical engagement enables me to read Shapiro’s panels as not merely reinforcing dominant interpretations of the fallen hero, but also as a means by which the cartoonist destabilises and reconfigures socially accepted notions of the villain.     

Deaf to women: Rhodes’s refusal to hear women or his own feminine voice within – a reading of Schreiner’s Trooper Peter Halket of Mashonaland

E.D. Morel’s chapter, ‘The story of Southern Rhodesia’, in his signal text The black man’s burden (1920), provides intertextual reference to Olive Schreiner’s work Trooper Peter Halket of Mashonaland (1897) in discussing libertarian thought and distinguishing aspects of male/female authorship. Schreiner’s feminist perspective affords her a wider purview of colonialist prerogatives than those exhibited by several contemporary male observers or commentators. The figure of Jesus, as pictured in her neglected political/moral parable, far from being ironic, sentimental or evangelical in purpose, embodies her ideal balance of female and male qualities. Schreiner relies on this redemptive icon both in an ethical and gendered sense to project new understanding and enlightenment onto the strife of the day, which allows her, in turn, to expose and critique Rhodes’s male deafness both to women and his own feminine nature. By contrast, Halket’s conversion, his feminisation, holds up the alternative of hope versus Rhodes’s predatory male soul and final moral damnation.     

Tammsaare’s Constructions of Femininity in Light of Weininger’s Concept of Sex Difference

The texts of Estonian literary classic A. H. Tammsaare (1878–1940) can be read as mediating contradictory fin de siècle discourses of modernity. The emergence of these discourses was the effect of an accelerated process of socioeconomic modernization. This article analyzes constructions of femininity in Tammsaare’s literary texts through his women protagonists. The construction of these protagonists can meaningfully be traced to the increasingly insistent presence of women in the public sphere throughout Europe and in Estonia at the period of fin de siècle. Although Tammsaare’s texts speak by means of feminist discourses, his constructions of femininity lean toward the negative, misogynistic pole of these reactions to emancipated and “new” women. His analysis of womanhood often refers to the misogynist theory of gender in Otto Weininger’s popular treatise Geschlecht und Charakter. Eine prinzipielle Untersuchung (Sex and Character. An Investigation of Fundamental Principles), which came out 1903.     

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.     

Fantasy as ‘Recovery,Escape and Consolation’ in the Short Stories of Isaac Bar Moshe

Isaac Bar Moshe (1927-2004) was born in Baghdad and immigrated to Israel in 1950. This article deals with his literary world, which is split between realism on the one hand and fantasy, mysticism and dreams on the other, with both these planes reflecting his perspective on various existential questions. The article focuses on the short stories in his book Behind the Wall (1973), which, like many of his other works, are largely anchored in his private life and depict a bleak reality, with dreams and fantasy offering the only hope of escape into a better, more spiritual world. The article concludes with an analysis of Bar Moshe's stories in terms of the three functions of fantasy – ‘recovery, escape and consolation’ – as formulated by writer and philologist J.R.R. Tolkien in his book Tree and Leaf.     

Mapurbe Identity and Admapu in David Aniñir's Poetry

This article proposes a reading of David Aniñir's poetry that examines how he resignifies elements pertaining to admapu or Mapuche norms and practices in the metropolis. Aniñir is an urban Mapuche poet who lives in Santiago, Chile and displays interest in recovering his roots. While he defies preconceptions about indigenous peoples in his poetry, he includes Mapuche culture in his depiction of mapurbe identity. In his writing, Aniñir incorporates Mapuche key concepts and social roles such as yeyipun (prayer), pewma (dreams), werken (messenger), ngenpin (ritual speaker) and machi (spiritual authority and shaman), giving them new meanings within the urban context.     

Hostility and Hospitality: Muhammad Qazvini's Critique of Louis Massignon

In his magnum opus The Passion of al-Hallaj, the famous French scholar of mysticism, Louis Massignon (1883–1962), studied the life of the tenth-century religious figure and martyr Mansur al-Hallaj. While this earned Massignon high accolades, most famously from Edward Said in Orientalism, his contemporaries disputed the value of his contributions. In particular, this article will closely examine the writings of Muhammad Qazvini (1877–1949), an Iranian philologist who wrote a private letter to a colleague referring to Massignon's ‘Orientalist charlatanism’. Through Qazvini's private reflections we are able to explore the critical undercurrents of French Oriental studies, particularly in Qazvini's assessment of Massignon's concept of hospitality.     

A tribute to Leo Cawley, 1944–1991

Abstract

In the late sixties, after his tour of active duty as a marine in Vietnam from 1965 to 66, Leo Cawley returned to the United States and became an economics major at Columbia University. There he joined the Vietnam Veterans Against the War and the Columbia University chapter of the Committee of Concerned Asian Scholars (CCAS), whose national organization founded the Bulletin of Concerned Asian Scholars. In March and April of 1972 he traveled to the People's Republic of China with the second CCAS delegation. Leo reviewed Waldemar A. Nielson's The Big Foundations in volume 6, number 3 of BCAS in 1974, and from 1985 to 1987 he was book review editor for BCAS. Leo also contributed money to BCAS even in the last year of his life when his medical expenses were skyrocketing. Above all, however, Leo stood for everything BCAS has stood for over the years, and he was a close friend and inspiration to some of BCAS's staunchest supporters.     

Dining with Sam Orr: Nation Review and the Restaurant Reviews of Richard Beckett

In Australia in the 1970s, restaurant dining became a popular middle-class pastime, and restaurant criticism began to play an important role in the shaping of Australian tastes. Richard Beckett was one of the most prolific Australian food writers of the 1970s and 1980s and one of the first to write a regular column devoted to restaurant reviews. Writing as Sam Orr, a satirical character invented to suit the ethos of the irreverent Nation Review, Beckett produced highly original reports of his dining experiences. He aimed to both educate and entertain his readers and to subvert the perception of restaurant dining as an elitist pastime. Beckett’s contribution as a tastemaker was disparaged at the time and has been largely neglected since. Through a consideration of the role of Nation Review, Beckett’s reviews, published responses to Sam Orr by both his critics and his fans and unpublished correspondence from readers, this article offers a reassessment of Richard Beckett’s role in the shaping of Australia’s tastes in restaurant dining through his endorsement of the distaste of taste.     

Abdürreşid İbrahim's journey to China: Muslim communities in the late Qing as seen by a Russian-Tatar intellectual

An eminent Russian-Tatar alim (a scholar, or an intellectual) and Pan-Islamist known for his role as a collaborator in Japan's Islamic campaigns in the first half of the 20th century, Abdürre?id ?brahim went on a grand tour of Eurasia from 1907 to 1909. This article focuses on his journey to China in the late Qing by drawing mainly on his travel book Âlem-i ?slâm, in which he describes China's politics, society, economy and culture, as well as the Muslims dwelling there, anticipating that Chinese Muslims would join in an alliance with Japan to form an anti-imperialist corridor. In general, ?brahim succeeded in enjoying Muslims' favour in Beijing, lamenting the place of Islam in China while also being scathingly critical of its practice. He was invited to Japan again in the 1930s and played an important role in drawing foreign Muslims' attention to Japan.     

The Death of the Author through False Translation in Mario Bellatin's Orientalised Japan

This article argues that Mario Bellatin's exploration of the potential relationship between writing, translation and physical deformity leads, perhaps unconsciously, to the continuation of exoticising stereotypes about ‘Oriental’ cultures. In El jardín de la señora Murakami, Shiki Nagaoka: una nariz de ficción, and Biografía ilustrada de Mishima, Bellatin resorts to Japanese characters to distance himself from his own writings, as if it were the culture that is the most alien to his own. His lucubrations about reading and writing are sometimes accompanied of exocitising and orientalist overtones, which he mocks at times.     

La représentation politique dans les doctrines et dans les institutions au XVIIIème et au XIXème siècles en Europe et aux Etats‐Unis: Une recherche en cours

SUMMARY

In this article Cristiana Senigaglia seeks to elucidate Hegel's conception of the coup d'état. This is necessary because Hegel did not systematically expound his view in this writings, notably it is not treated in his central work, Die Philosophie des Rechts. But a consistent view can be found in his historical and philosophical writings. The article suggests that Hegel did consider there were circumstances in which a use of force to change an existing political order, or lack of it, were justified. He cited the political chaos in early modern Italy, or the constitutional instabilities in France in his own time as examples where the forces of history justified illegal and forceful interventions, be they from above or below, or the intervention of the decisive historical individual, a Caesar or a Bonaparte. To be justified, in Hegel's view, such irregular actions must be consistent with the contemporary underlying forces driving the historical process: they must have the effect of creating a new, acceptable legal order to replace that which is overthrown; and in consequence must result in a new normalization. In order to be justified, and thus to succeed in the long term, the exceptional situation created by the coup must be temporary and limited. Hegel saw Robespierre and Bonaparte as examples where a justified coup was initiated, but then the will of the initiators became an obstacle to a new normalization.     

Bemerkungen zur reform des Reichsjustizwesens in der Zweiten Hälfte des 16. Jahrhunderts

Summary

Voltaire and the ‘Glorious Revolution’ of 1688

From the start of his career Voltaire was pro‐English. Britain was for him the country of a ‘sage liberté’ which was the beneficial result of the civil wars. His contacts with the British community in Paris and the exiled Lord Bolingbroke help explain why he sought refuge in London after his imprisonment and his subsequent passion for English institutions. Voltaire's view of institutions was not always very accurate; he only saw the positive side and, intentionally or not, concealed a great deal. The religious foundation of the English character escaped him, as did the agrarian problems. For him the regime of 1689 constituted a constitutional ideal; the balance it achieved was a perfection to whose defects he was blind.

Voltaire had always been split between his admiration for the English system and his respect for the ‘enlightened’ work of Frederick the Great and Catherine Il. He inclined, especially towards the end of his life, towards England. He was one of the originators of a current, still very much alive in France, of an anglophilia of the left’. But the undeniable weakness in Voltaire's thought was his failure ever to ask how far the representative government he so admired was capable of being practised by the French.     

Class conflict in Chinese socialism,by Richard Curt Kraus. New York: Columbia University Press, 1981, $22.50

Abstract

One notion of a bureaucratic class in a socialist society has been put forward by Milovan Djilas. According to Djilas, although under socialism there is no longer private ownership of the means of production, a small group of people in the government bureaucracy exercise effective economic control and can use this control to extract a surplus. The bureaucracy which gains control of society's economic surplus maintains the alienated condition of the working class and becomes a ruling class in Marxian terms. In Class Conflict in Chinese Socialism, Richard Kraus’ thesis is that Mao Zedong was aware of, and actively opposed, the beginnings of such a class in modem China. Kraus traces the evolution of Mao's theory of class to show the richness of Mao's theory and to document the influence which that theory had on post-1949 China. Kraus does not adhere strictly to Djilas’ definition of a bureaucratic class, however, nor does he explicitly develop one of his own. Rather, he lacks rigor in his use of such terms as “class” and “class struggle,” making his analysis unclear and the evidence for his thesis weak.