Journal articles on the topic '1941-1996 Criticism and interpretation'

An interesting thought experiment claiming to highlight the connection between singularities and the global arrow of time is re-analyzed, and a further specification suggested. Against the criticism of Price (1996), it is proposed that the original Penrose (1979) interpretation is still valid. Some ramifications of the result of our understanding of the cosmological arrow of time are sketched.

<p><em><span lang="EN-US">This research aims to describe the metaphor and interpretation of social criticism in Iwan Fals song albums. The use of qualitative descriptive method leads the result of the research to elaborate the data by words rather than numbers. The data of the research was taken from the lyrics of Iwan Fals’ songs; “Opiniku”, “Sumbang”, “Tikus-Tikus Kantor”, “Besar Kecil”, “Dunia Binatang”, “17 Juli 1996”, “Buktikan”, dan “Kuda Lumping”. Then, the researcher observed and marked the lyrics as the technique in collecting the data. By the results, it can be concluded four metaphorical classifications; animal metaphor, anthropomorphic, from concrete to abstract, and sinaesthetics, the results of the study show that Iwan Fals uses many metaphors of animals such as tigers, snakes, elephants, rats, cats, shrimp, dogs, crocodiles, dinosaurs, lizards, lizards, ducks, parrots and lizards.</span></em></p>

In the years since the publication of Robert Carroll’s ‘Surplus Meaning and the Conflict of Interpretations: A Dodecade of Jeremiah Studies (1984—95)’, in Currents 4 in 1996, major paradigm shifts in biblical studies have resulted in an unprecedented level of innovation. Increased engagements with the element of chaos in the text and the resultant innovative encounters with this problematic scriptural material include influential contributions from philosophy, cultural and literary theories. The present review surveys the current state of the field of Jeremiah studies by tracing the impact of post-structuralist methodologies of decentring on ways of thinking about and engaging with Jeremiah. It argues that in the aftermath of the widely acknowledged end of the hegemony of historical-criticism as the dominant paradigm of biblical interpretation articulated by Perdue as ‘the collapse of history’, Jeremiah studies has taken on the shape and nature of a dialectic between the principles of order and chaos.

This study aims to explain how the Muslim community responded to the presence of Christians in Cipatujah, as it is known that Christians came to Cipatujah around 1936, namely Javanese people from Salatiga who were brought by the leadership of a Dutch missionary named Tuan A. Van Emmerik. The method used in this research is the historical method by carrying out the stages starting from data collection (heuristics), levers (criticism), interpretation (interpretation) and writing (historiography). Data collection techniques used in this research are text study, observation. and interviews. The results of this study show that there have been ups and downs of relations between Muslims and Christians in Cipatujah. This can be seen from several conflicts that have occurred from the riots in 1996 to the burning of churches and Christian settlements in 2001. Keywords: Response, Muslims, Christians, Cipatujah.

No taking or avoiding of chances, but utilising all chances! A sociorhetorical appreciation of Ecclesiastes 11:1-6. The book of Vemon K Robbins, Exploring the texture of texts: A guide to sodo-rhetorical interpretation (Valley Forge: Trinity Press, 1996), is used to analyse the short, but complicated text, Ecclesiastes 11:1-6. Sodorhetorical criticism provides for a sophisticated grasp on the complex phenomenon, "text". The analysis of the different textures of a text (inner, inter-, sodal and cultural, ideological and sacred) creates a rich environment of meaning, within which interpretation can take place. The conclusion reached on Ecclesiastes 11:1-6 is that it adheres to the values of protest wisdom, but mnrkedly cynical and pessimistic. It advocates a "carpe diem" lifestyle, however, without escaping uncertainty. No interpretation is value-free and neither is this one. Hopefully it is sound within the created environment of meaning.

This article discusses four Hamlet adaptations produced in twentieth-century Japan: Naoya Shiga’s ‘Claudius’s Diary’ (1912), Hideo Kobayashi’s ‘Ophelia’s Testament’ (1931), Osamu Dazai’s New Hamlet (1941) and Shohei Ooka’s Hamlet’s Diary (1955). Though differently motivated, and written in different styles, they collectively make something of a tradition, each revealing a unique, unexpected interpretation of the famous tragedy. Read as a group, they thoroughly disprove the stereotypical view that Japan has generally taken a highly respectful, imitative attitude to Western culture and Shakespeare. Hamlet has certainly been revered in Japan as the epitome of Western literary culture, but these adaptations reveal complicated, ambivalent attitudes towards Shakespeare’s play: not only love and respect, but anxiety, competitiveness, resistance and criticism, all expressed alongside an opportunistic urge to appropriate the rich ‘cultural capital’ of the canonical work.

Pavle Stefanovic (1901-1985) is one of the most prominent Serbian music critics and essayists. He created extensive musicographic work, largely scattered in periodicals. A philosopher by education, he had an excellent knowledge of music and its history. His style was marked by eloquence, associativity and plasticity of expression. Between 1938 and 1940 he published eighteen music reviews in The Music Herald, the longest-running Belgrade music magazine in the interwar period (1928-1941, with interruption from 1934 to 1938). Stefanovic wrote about concerts, opera and ballet performances in Belgrade, performances by local and eminent foreign artists. His reviews include Magda Tagliaferro, Nathan Milstein, Jacques Thibaud, Enrico Mainardi, Bronis?aw Huberman, Alexander Uninsky, Alexaner Borovsky, Ignaz Friedman, Nikita Magaloff and many other eminent musicians. Th is study is devoted to the analysis of the Stefanovic?s procedure. Pavle Stefanovic was an anti-fascist and left ist. He believed that the task of a music critic was not merely to analyze and evaluate musical works and musical interpretations. He argued that the critic should engage in important social issues that concerned music and music life. That is why he wrote articles on the occasion of German artists visiting Belgrade, about the persecution of musicians of Jewish descent and the cultural situation in the Third Reich. On the other hand, Stefanovic was an aesthetic hedonist who expressed a great sense of the beauty of musical works. Th at duality - a socially engaged intellectual and a subtle ?enjoyer? of the art - remained undisturbed. In these articles he did not go into a deterministic interpretation of the structure of musical composition and the history of music. And he did not accept the larpurlartistic views.

Penelitian ini membuktikan bahwa kajian kesusastraan dengan menggunakan new historicism mampu mengungkap pelbagai kekuatan budaya, sosial, ekonomi, dan politik yang menyetubuh dan menyelinap dalam setiap sela teks sastra yang merupakan ranah estetik (aesthetic richness). Penelitian ini mengungkapkan bahwa karya sastra tidak dapat dipisahkan dengan pelbagai konteks zaman dan praksis budaya, sosial, ekonomi, serta politik yang melingkupinya. Penelitian ini tidak sependapat dengan konsep new criticism John Crowe Ransom (The New Criticism, 1941 dan Criticism as Pure Speculation, 1971) dan William K. Wimsatt dan Monroe Beardsley (The Intentional Fallacy, 1946 dan The verbal Icon, 1954) yang mengatakan bahwa karya sastra merupakan autotelic artefact. Sehingga menjadi tidak tepat ketika pemahaman terhadap sastra dikaitkan dengan pengarang, pembaca, maupun konteks di luar karya sastra. Penelitian ini mendukung konsep new historicism Stephen Greenblatt (Practicing New Historicism, 2000) yang menyatakan bahwa dunia imajinatif-estetis tidak pernah terlepas dari relasi kekuasaan dunia realitas yang termanifestasi dalam karya sastra sebagai apresiasi estetis individu dan praksis budaya, sosial, ekonomi, dan politik. Berdasarkan interpretasi kritis new historicism Greenblatt terhadap novel Ukhruj Minha Ya Mal’un diperoleh hasil penelitian berupa pemahaman karya imajinatif yang penuh dengan simbol yang lebih lengkap dan dalam (deeper understanding of value) dengan melibatkan konteks ekstrinsikalitas karya sastra di dalamnya dan novel Ukhruj Minha Ya Mal’un hadir sebagai tanggapan reflektif-imajinatif Saddam Hussein sebagai pengarangnya.[This research proves that literary studies using new historicism can reveal the various cultural, social, economic, and political forces that intercourse and sneak in every literary text: aesthetic richness. This research reveals that literary works cannot be separated from the various contexts of the era and the cultural, social, economic, and political praxis that surround them. This study disagrees with the concept of new criticism John Crowe Ransom (The New Criticism, 1941 and Criticism as Pure Speculation, 1971) and William K. Wimsatt and Monroe Beardsley (The Intentional Fallacy, 1946 and The verbal Icon, 1954) literature is an autotelic artifact. So it is not appropriate when the understanding of literature is associated with authors, readers, and contexts outside of literary works. This research supports Stephen Greenblatt's new historicism concept (Practicing New Historicism, 2000), which states that the imaginative-aesthetic world is never separated from the power relations of the world of reality which are manifested in literature as an individual aesthetic appreciation and cultural, social, economic, and political praxis. Based on the critical interpretation of Greenblatt's new historicism of the Ukhruj Minha Ya Mal'un novel, the research results are in the form of a deeper understanding of imaginative works of symbols (deeper understanding of value) involving the context of the extrinsicality of literary works in it and the novel Ukhruj Minha Ya Mal. 'un appears as the reflective-imaginative response of Saddam Hussein as the author.]

The Tasikmalaya incident was a major and historic event that occurred in 1996. As a major event, media such as newspapers will never forget to report it. Interestingly, each newspaper has its own perspective in seeing reality. This method is used by media in a reality to then be constructed and produced in the form of news. As a result, the production of news varies even if the object is the same, whether we realize it or not. In the world of the press, this activity is known as media politics. And also, a historical event by Fernand Braudel declared as a historical event in a quick period of time. It is interesting to study how the media with Islamic and nationalist ideology reported on the Tasikmalaya incident because the incident involved these two elements. To answer this problem, the historical method is used which begins with a heuristic process, criticism, enters the interpretation process and historiography activities at the end. As a result, the construction of the news carried out by the Islamic and nationalist newspapers was very different. Ideology does influence the news. However, ownership and environmental factors cannot be ignored. Even more influential than ideology. In reporting Tasikmalaya, Islamic newspapers tend to defend Muslims. Meanwhile nationalist newspapers blame Muslims.

AbstrakPenelitian ini bertujuan untuk mengetahui, dan memberikan penjelasan tentang bagaimana peranan Kepolisian Daerah Jambi dalam memberikan pelayanan kepada masyarakat dalam kurun waktu 1996 – 2008. Metode penelitian yang digunakan adalah metode sejarah, meliputi tahapan heuristik, kritik sumber, interprestasi, dan historiografi. Sumber sejarah yang digunakan berupa dokumen ataupun laporan resmi, buku-buku, artikel makalah, lewat studi kepustakaan, serta ditambah dengan hasil wawancara. Pendekatan yang digunakan yaitu langkah-langkah dan arah analisisnya, oleh karena itu sebagai landasan konseptual penulis menggunakan konsep Kepolisian Daerah Jambi dalam kurun waktu 1996 – 2008. Perilaku individu dalam kesehariannya hidup bermasyarakat berhubungan erat dengan peran. Hasil penelitian menunjukkan bahwa demokratisasi dan civil society menjadi dambaan masyarakat. Masyarakat menginginkan Polisi yang profesional. Polisi sipil yang humanis dan bersahabat dengan masyarakat menjadi sesuatu yang mutlak. Polda Jambi dituntut melakukan berbagai perubahan dengan menghadirkan strategi perubahan dalam memberikan perlindungan, pengayoman, dan pelayanan kepada masyarakat. Apabila Polda Jambi tidak melakukan strategi perubahan mengikuti perkembangan masyarakat, maka sudah bisa dipastikan kamtibmas yang diinginkan oleh masyarakat Jambi sulit tercapai.Kata Kunci : Kepolisian, Daerah, JambiAbstractThis study aims to determine, and provide an explanation of how the role of the Jambi Regional Police in providing services to the community in the period 1996 – 2008. The research method used is the historical method, including heuristic stages, source criticism, interpretation, and historiography. The historical sources used are in the form of documents or official reports, books, paper articles, through literature studies, and added with the results of interviews. The approach used is the steps and direction of the analysis, therefore as a conceptual basis the author uses the Jambi Regional Police concept in the period 1996 - 2008. Individual behavior in daily life in society is closely related to roles. The results of the study show that democratization and civil society are the people's dreams. People want professional police. Civilian police who are humanist and friendly to the community are an absolute must. The Jambi Regional Police are required to make various changes by presenting a change strategy in providing protection, protection, and services to the community. If the Jambi Police do not implement a change strategy following the development of the community, it is certain that the Kamtibmas desired by the Jambi people will be difficult to achieve.Keywords: Police, Region, Jambi

Abstract The purpose of the research to describe how the economic activities of vegetable farmers in Liposos II and the extent to which the influence of vegetable plantations on the economic life of vegetables in Liposos 1996-2007. The method used is historical research methods include heuristic stages, criticism, interpretation and historiography. Historical sources used of local archives and interviews and written literature. Local archives include Liposos II archives. Interviews were conducted with the parties who have a relationship with this research that is the vegetable farmers who are in Liposos II, ranging from government, farmers as well as owners of vegetable land.The approach used is the economic approach, among others, to determine the income and profits of farmers. In addition there is also a sociological approach to see the relationship between vegetable farmers with other vegetable farmers also see the relationship between farmers. The results showed that vegetable planting in Liposos II is still traditional and small scale but this activity still gives a positive influence for the life of the population, especially for those who are directly involved. These influences include improving the welfare of farmers as well as owners of vegetables that create jobs and reduce unemployment. Keywords: Economic Life of Vegetable Farmer, In Liposos

Palangki cattle market has been established since 1996. The market has become the largest cattle market in West Sumatra. Buyers in the Palangki cattle market are not only people from West Sumatra Province but also people outside West Sumatra Province such as the people of Jambi, Riau, Jakarta, Bengkulu and other areas. The purpose of this study is to analyze the development and survival strategies of the Palangki cattle market since 1996-2018. The theory used is a survival strategy by Edi Suharsono. Research uses a qualitative approach and historical research methods. The stages in historical research are heuristics that as gathering data or sources, verification or source criticism, interpretation or giving meaning and historigraphy. Research results show that the Palangki livestock market has developed quite rapidly from the local market to become a regional market in type A. The market viability strategy is supported by the development of extensive infrastructure, livestock buying and selling systems using the "rubbish behind fabric" model, expanding the network in selling transactions buying, management structure and regular market regulation, community involvement is high and has a buffer market. The strategy used has influenced the market system and the development of the Palangki cattle market. This also supports the sustainability of traditional markets in West Sumatra

Serbian music criticism became a subject of professional music critics at the beginning of the twentieth century, after being developed by music amateurs throughout the whole previous century. The Serbian Literary Magazine (1901- 1914, 1920-1941), the forum of the Serbian modernist writers in the early 1900s, had a crucial role in shaping the Serbian music criticism and essayistics of the modern era. The Serbian elite musicians wrote for the SLM and therefore it reflects the most important issues of the early twentieth century Serbian music. The SLM undertook the mission of educating its readers. The music culture of the Serbian public was only recently developed. The public needed an introduction into the most important features of the European music, as well as developing its own taste in music. This paper deals with two aspects of the music criticism in the SLM, in view of its educational role: the problem of virtuosity and the method used by music critics in this magazine. The aesthetic canon of the SLM was marked by decisively negative attitude towards the virtuosity. Mainly concerned by educating the Serbian music public in the spirit of the highest music achievements in Europe, the music writers of the SLM criticized both domestic and foreign performers who favoured virtuosity over the 'essence' of music. Therefore, Niccol? Paganini, Franz Liszt, and even Peter Tchaikowsky with his Violin concerto became the subject of the magazine's criticism. However their attitude towards the interpreters with both musicality and virtuoso technique was always positive. That was evident in the writings on Jan Kubel?k. This educational mission also had its effect on the structure of critique writings in the SLM. In their wish to inform the Serbian public on the European music (which they did very professionally), the critics gave much more information on biographies, bibliographies and style of the European composers, than they valued the interpretation itself. That was by far the weakest aspect of music criticism in the SLM. Although the music criticism in the SLM was professional and analytic one, it often used the literary style and sometimes even profane expressions in describing the artistic value and performance, more than it was necessary for the genre of music criticism. The music critics of the SLM set high aesthetic standards before the Serbian music public, and therefore the virtuosity was rejected by them. At the same time, these highly professional critics did not possess a certain level of introspection that would allow them to abstain from using sometimes empty and unconvincing phrases instead of exact formulations suitable for the professional music criticism. In that respect, music critics in the SLM did not match the standards they themselves set before both the performers and the public in Serbia.

Tulisan ini bermaksud menunjukkan pemikiran dan peranan Émma Poeradiredja dalam pergerakan politik perempuan Indonesia. Émma Poeradiredja merupakan perempuan Sunda yang terlibat dalam pergerakan perempuan Indonesia sejak tahun 1920-an. Dia dikenal sebagai salah satu pendiri dan ketua Pasundan Istri, serta merupakan perempuan Sunda pertama yang terpilih sebagai anggota gemeenteraad. Penelitian ini menggunakan metode sejarah. Metode sejarah mencakup tahapan menemukan dan mengumpulkan sumber serta data (heuristic), kritik sumber, interpretasi dan historiografi. Pendekatan sejarah politik digunakan untuk mengelaborasi pemikiran-pemikiran Émma Poeradiredja. Hasil penelitian menunjukkan bahwa menurut Émma Poeradiredja, dalam kehidupan masyarakat, perempuan dapat menjalankan empat peran, yakni sebagai ibu, sebagai pemimpin dalam urusan rumah tangga, sebagai isteri, dan sebagai warga negara. Dengan demikian, pemberdayaan perempuan dilakukan dalam tiga tahap. Pertama, dalam rumah tangga; kedua, dalam kehidupan sosial ekonomi yang mana perempuan berada dalam posisi berdampingan dengan laki-laki dalam menjalankan kewajiban dalam masyarakat; ketiga, dalam politik, perempuan harus turut serta menerima kerja-kerja politik. Pemberdayaan perempuan ini dilakukan pertama-tama melalui pendidikan dan selanjutnya melalui gerakan politik. Émma menekankan bahwa dalam bidang politik ini peran perempuan sebagai warga negara yang berpartisipasi dalam kehidupan pemerintah dapat dijalankan. This article intends to show the thoughts and roles of Émma Poeradiredja in the Indonesian women's political movement. Émma Poeradiredja is a Sundanese woman who has been involved in Indonesian women's movements since the 1920s. She was known as one of the founders and chairman of the Pasundan Women, and was the first Sundanese woman to be elected as a member of the gemeenteraad. In this study historical methods are used. Historical methods include the stages of finding and collecting sources and data (heuristics), source criticism, interpretation and historiography. The approach to political history was used to elaborate on the thoughts of Émma Poeradiredja. The results of this study indicate that according to Émma Poeradiredja, in people's lives, women can carry out four roles: as mothers, as leaders in household affairs, as wives, and as citizens. Thus, women's empowerment is carried out in three stages. First, in the household; second, in socio-economic life where women are in a position side by side with men in carrying out obligations in society; third, in politics, women must participate in accepting political work. Women's empowerment was carried out first through education and then through political movements. Émma emphasized that in this political field the role of women as citizens who participate in government life can be carried out.

The article deals with the pandemic as an episode of intellectual history and a situation of reflection against the background of the “death of an intellectual”. The author proposes to question the very conditions of the possibility for philosophy’s response to the challenge of this or that current crisis in principle and the coronavirus pandemic in particular. The question is closely related to the phenomenon of the Intellectual, the crisis of which was announced by French researchers about forty years ago. Today one can talk about the simulation of its role and place in modern “reactions”, about the objective historical impossibility of reviving this figure and its inherent form of expression. The issue is considered based on the material of French intellectual history and criticism of the “media intellectual”. The starting point of the analysis is the political crisis in France in 2019, which falsely revived the forgotten structure of “intellectuals and power”. The author of the article draws attention to the similarity of the intellectual “calm” (reflexive inertia) of 1941 and 2021, suggesting to recall those forms of reflection that were involved by A. Malraux, J.-P. Sartre, J. Paulhan, M. Merleau-Ponty. The “reactions” of certain French intellectuals caused by the coronavirus crisis – E. Moren, R. Debray, J.-L. Nancy, B. Latour – reproduced in the article in the light of the interpretation of the pandemic as a “reductive situation” (M. Mamardashvily) with its inherent moralizing and neo-mania (R. Barthes). The author finds it problematic to appeal to criticism in the face of the “terror of the event” (M. Merleau-Ponty). Intellectuals themselves are a rare extinct phenomenon, which is important to consider in anticipation of their “response” in the face of the threat of a pandemic

In its judgments on the preliminary objections in the Legality of Use of Force cases, the Court held that the FRY was not a UN member in the period between 1992 and 2000. This finding is controversial, at odds with previous decisions of the Court, and has indeed attracted criticism from various judges. This article proposes a different construction of the question of the FRY's membership within the UN and reviews arguments that allow doubts to be cast on the reasoning of the Court. Because of the link between UN membership and the FRY's participation in the Genocide Convention, the Court's finding in the Legality of Use of Force cases may have some implications for two sets of proceedings still pending before the Court (Bosnia and Herzegovina v. Serbia and Montenegro and Croatia v. Serbia and Montenegro). In the former case, an interpretation of the extent of the res judicata principle may allow the Court not to reopen the issue of jurisdiction, already decided in 1996 on the basis of Article IX of the Genocide Convention. In the latter case, various options might allow the FRY to be regarded as a party to the Genocide Convention.

Abstract: The author addresses the issue of Nicholai Velimirovich’s attitude towards fascism, responding to the criticism of Bishop Nicholai as a sympathizer of Adolph Hitler’s policy and the interpretation of Velimirovich’s thoughts that enabled such constructions. In the present article, special attention is paid to the public addresses of Nicholai Velimirovich during the period of the rise of the Nazi state, i.e. from 1935 to 1941. The main topic of this article is to deconstruct the great myth of Bishop Nicholai’s critics, which reads: Saint Bishop Nicholai is a fascist because he received a decoration from Hitler in 1934, and in 1935 he gave a lecture at Kolarac called “Nationalism of Saint Sava” where he praised Hitler as few people did during the life of the Reich leader, comparing him with Saint Sava, “whereby Hitler turned out to be bigger than Saint Sava.” This accusation comes from the critics of Bishop Nicholai from Peščanik, whose pamphlets are adopted and passed on by a part of the Serbian intelligentsia in which there are historians, linguists, political scientists, and even theologians. However, such constructions are possible only if we ignore the legacy of Bishop Nicholai and his thought. For instance, it is interesting that in the same year, namely in 1926, Hitler and Velimirovich published two completely opposite works — Hitler the second part of his Mein Kampf in which he revealed his racial theory to the world, and Nicholai a short article entitled “The Problem of Races,” in which he explained that the problem of race can not solve anthropologists, nor historians and psychologists, but only Christianity, urging Serbian youth not to make a value difference between races, but to consider whether a black earthen pot with honey or a white porcelain pot with vinegar is better. In his later works, there are much more references to the issues of racism, nationalism, chauvinism, etc., where he clearly holds moderated and balanced Christian worldview.

Purpose – The purpose of this paper is to consider the implications of the admission of oral contracts to statutory adjudication proceedings. A major criticism of the Housing Grants, Construction and Regeneration Act 1996 (“HGCRA 1996”) was that Section 107 required contracts to be “in writing” for the parties to be able to use statutory adjudication. In response, the Local Democracy, Economic Development and Construction Act 2009 repealed Section 107 of the HGCRA 1996. This paper considers the implications of the admission of oral contracts to statutory adjudication proceedings, whereby adjudicators’ may now have to determine the exact nature of oral agreements. The critical literature review has highlighted that there is a perceived risk that, by allowing oral contracts to be decided through adjudication, there could be an increased risk of injustice (as the adjudicator may have to decide oral testimony about contract formation). Adjudicators may now have to determine the exact nature of oral agreements. The critical literature review has highlighted that there is a perceived risk that by allowing oral contracts to be decided through adjudication there could be an increased risk of injustice (as the adjudicator may have to decide oral testimony about contract formation). Design/methodology/approach – The questionnaire responses of 38 construction industry professionals were analysed by identifying facts and salient themes. The research aims to identify to what extent the changes have widened the scope for entering into adjudication proceedings and whether there is an increased risk of injustice due to the short timescales involved. Findings – There was significant agreement that parties to an oral agreement have an increased risk of injustice through wrong interpretation of the terms and significant disagreement that allowing oral contracts to be referred to adjudication will encourage the use of oral agreements. In addition, construction industry professionals were interviewed in the Midlands, UK, to obtain their opinions, views and perceptions of the admission of oral contracts to statutory adjudication. Originality/value – The research is anticipated to be of particular benefit to parties considering referring an oral contract to adjudication.

Abstract: In Brazil, the LDB - Law of Guidelines and Bases nº. 9394(Brazil, 1996) and the PCN - National Curricular Parameters, determines that the Geography discipline is recognized as autonomous and should not be understood as a complement to other disciplines. In this way, the improvement in Geography teaching passes through cartographic literacy. The focus is on offering the student the capacity to carry out the appropriation, analysis, reflection and criticism on geographical space. In this way, this paper presents a resource that consisted of the development of the application called MapVoice. The purpose of the software is to enable Blind or visually impaired students, from basic education, in the learning of Cartography in Geography classes. MapVoice provides the understanding and interpretation of physical environments transformed into thematic maps based on data from the 2010 Brazilian Demographic Census executed by IBGE. The software used sound and image resources developed for Windows environment. The research concludes that it is necessary to prepare the infrastructure of the schools for the reception of these students, but mainly the continuing training of teachers and teaching assistants. Mapvoice was tested at the Institute of the Blind for validation, achieving a satisfactory result and making enthusiasm for the development of new researches.

The beginning of 2006 marked two decades since the death of Stana Djuric-Klajn, the first historian of Serbian musical literature. This is the exterior motive for presenting a summary of the state and results of up-to-date musicology research into Serbian musical criticism and essay writings during the XIXth and the first half of the XXth century, alongside the many works dedicated to this branch of national musical history, recently published. In this way the reader is given a detailed background of these studies ? mainly the authors' names, books, studies, articles, as well as the problems of this branch of Serbian musicology. The first research is associated with the early years of the XXth century, that is, to the work of bibliography. The pioneer of Serbian ethnomusicology, Vladimir R. Djordjevic composed An Essay of the Serbian Musical Bibliography until 1914, noting selected XIXth century examples of Serbian literature on music. Bibliographic research was continued by various institutions and experts during the second half of the XXth century: in Zagreb (today Republic of Croatia); the Yugoslav Institute for Lexicography, Novi Sad (Matica srpska); and Belgrade (Institute for Literature and Art, Slobodan Turlakov, Ljubica Djordjevic, Stanisa Vojinovic etc). In spite of the efforts of these institutions and individuals, a complete analytic bibliography of music in Serbian print of the last two centuries has unfortunately still not been made. The most important contributions to historical research, interpretation and validation of Serbian musical criticism and essay writings were given by Stana Djuric-Klajn, Dr Roksanda Pejovic and Dr Slobodan Turlakov. Professor Stana Djuric-Klajn was the first Serbian musicologist to work in this field of Serbian music history. She wrote a significant number of studies and articles dedicated to Serbian musical writers and published their selected readings. Prof. Klajn is the author and editor of the first and only anthology of Serbian musical essay writings. Her student Roksanda Pejovic published two books (along with numerous other factually abundant contributions), where she synthetically presented the history of Serbian criticism and essay writings from 1825 to 1941. Slobodan Turlakov, an expert in Serbian criticism between the World Wars, meritorious researcher and original interpreter, especially examined the reception of music of great European composers (W. A. Mozart, L. v. Beethoven, F. Chopin, G. Verdi, G. Puccini etc) by Serbian musical critics. Serbian musical criticism and essay writings were also the focus of attention of many other writers. The work quotes comments and additions of other musicologists, but also historians of theatre, literature and art philosophers, aestheticians, sociologists, all members of different generations, who worked or still work on the history of the Serbian musical criticism and essay writings. The closing section of the text suggests directions for future research. Firstly, it is necessary to begin integral bibliographical research of texts about music published in our press during the cited period. That is a project of capital significance for national science and culture; realization needs adequate funding, the involvement of many academic experts, and time. Work on bibliography will also enable the collection and publication of sources: books and articles by Serbian music writers who worked before 1945. A separate problem is education of scholars. To study musical literature, a musicologist needs to be knowledgeable about the history of Serbian literature, aesthetic theory, and theatre, national social, political and cultural history, and methodology of literary study. That is why facilities for postgraduate and doctorial studies in musicology are necessary at the Faculties of Philology and Philosophy.

The article deals with aesthetic and stylistic particularities of the works by A. Robbe-Grillet and N. Sarraute, two famous writers and theorists of the “Nouveau Roman”. This literary movement continues to provoke debates about its interpretation and definitive assessment among foreign and national scientists, indicating the timeliness of the work. The research is based on their criticism and fiction published in the late 1950s – early 1960s. Analysing the literary context and the aesthetic views of the writers allows us to explain causes of their disagreements, to discover similarities and differences between their creative methods. Interpreting the works in the light of the image of labyrinth gives the opportunity to outline the main features of the poetics of Robbe-Grillet and Sarraute from a new angle. The use of metaphor is one of the characteristics that unites the literary practice of these authors. The concept of labyrinth has a number of philosophical and cultural senses, and its consideration is fruitful in order to study the individuality of the “nouveaux romanciers” literary world. The meaning of the image of labyrinth in the texts of “Dans le labyrinthe” and “Le Planétarium” is treated with comparative and hermeneutic methods, definitive and contextual analysis. The labyrinth defines the logic of creating the whole novel of Robbe-Grillet; it is involved in the description of interior and the image-bearing structure of Sarraute’s work. In addition, the metaphor is the basis of the stylistic manner of both authors, in spite of its different functioning in the considered works. As opposed to rudimentary and stereotypical story and characters, the metaphor in their texts serves to represent psychic activities of any person. Interpreting subconscious processes becomes the central content of the French writers’ works. The “nouveaux romanciers” assign to a reader a significant role in expounding their texts, that triggers self-knowledge, as well as philosophical reflections. The study may be of interest for experts in philology, science of culture and philosophy. Keywords: “Nouveau Roman”, metaphor, subconscious, image, interpretation, story, character

This article discusses the role of the Museum Perjuangan TNI in caring for the relics of the struggle of the Indonesian independence fighters in Medan and its surroundings. This article uses a historical research method with five steps, namely: topic selection, source collection, source criticism, interpretation, and historiography, with a qualitative approach. The main focus of this article is that the author wants to see the history of the establishment of the Museum Perjuangan TNI and the role it has in storing and caring for historical objects used by the fighters in Medan. Before becoming a museum, the building belonged to a Dutch insurance company named NV Levensverzekering Maatschappij Arnhem. After the Dutch surrender to Japan, the building was later converted into the headquarters of the Japanese army (Kementai). After being controlled by the Indonesians, this building was used as the office of the Commander of the Military Command (Pangdam) I-III. However, since October 5, 1996, this building was inaugurated as the TNI Struggle Museum by the Commander of the I/BB Regional Military Command, Major General (Mayjend). Sedaryanto. Currently the Museum Perjuangan TNI is located at Jalan KH. Zainul Arifin No. 8, Central Petisah Village, Medan City, North Sumatra Province. This museum acts as a place for education, tourism, and collective memory storage of the freedom fighters in Medan and its surroundings.

On the face of it, section 3 of the Recognition of Customary Marriages Act 120 of 1998 (RCMA) does not look ominous. Notwithstanding the plain language of the above provision, there is abundant case law and academic articles dealing with the interpretation and/or application of section 3(1)(b) in particular. A decision of the Supreme Court of Appeal (SCA) in Mbungela v Mkabi ((820/2018) [2019] ZASCA 134) adds to what is fast becoming a jurisprudence of the salient issues relating to the understanding of paragraph (b) of subsection (1). The issue of the scope of this paragraph has become more relevant in the inquiry into the transfer and/or integration of the bride into the groom’s family pursuant to the conclusion of a lobolo agreement. In his latest academic offering, Manthwa introduces this ongoing Achilles heel of customary marriages by referencing a number of cases and academic opinions; the references serve to justify the relevance of his work in the presence of so much jurisprudence on the topic. It is prudent to highlight also that Bakker provided an insightful criticism of the court a quo in Mkabe v Minister of Home Affairs ((2014/84704) [2016] ZAGPPHC 460). On the whole, it is argued here that the judgment of the SCA is incorrect in a few material respects and that the criticism by Bakker of the court a quo is legally sound and contributes meaningfully to the jurisprudence in this area.As this case note demonstrates, the SCA not only incorrectly interprets and applies the law, but the judgment also unjustifiably departs from precedents relating to the transfer and/or integration of the bride. In effect therefore, it is submitted, the SCA establishes a changeable attitude relating to the transfer and/or integration of the bride. This attitude is symptomatic of an apparent constitutional interpretation that desires a specific outcome almost at any cost. As such, this case note is relevant as it captures the latest instalment of the changing attitude towards the precepts of the transfer and/or integration of the bride. Thus, there is as much a need for continuous monitoring of this revolving door of interpretation and/or application as there is for cases dealing with this aspect. The matter is therefore considered as unsettled and merits ongoing academic discourse.This issue of unsettled law finds resonance in the pronouncements of the Constitutional Court in Bhe v Magistrate, Khayelitsha ([2004] ZACC 17 par 112).In light of the foregoing, the casuistic and often contradictory jurisdiction on the issue of transfer and/or integration of the bride is considered in the context of the constitutional injunction in terms of section 39(2) of the Constitution of the Republic of South Africa, 1996 (the Constitution) and the facts of the case in Mbungela v Mkabi (supra).

В статье впервые в отечественном искусствознании рассматривается феномен творческого взаимодействия одного из крупнейших оркестровых композиторов ХХ столетия Бориса Александровича Чайковского (1925–1996) и выдающегося российского дирижера, профессора Санкт-Петербургской консерватории Эдуарда Афанасьевича Серова (1937–2016). Основным предметом анализа является интерпретация, запечатленная в премьерной студийной записи Первой симфонии Б. Чайковского, осуществленной Серовым в июне 2006 года. Масштабный оркестровый опус, сочиненный Б. Чайковским, когда он был студентом в консерваторском классе Д. Д. Шостаковича, никогда прежде не исследовался в российском музыкознании. Тембровая поэтика и архитектоника самой ранней циклической партитуры Б. Чайковского осмыслены в контексте изучения авторского оркестрового стиля и его слагаемых, включая те, которые обозначены самим композитором («тембровая оптика», «перспективные планы», «атмосферная среда» и т. д.). Принципиально важным в оценке дирижерской трактовки Серова является анализ стилевой адекватности, проявляющейся в исполнительской расшифровке того, что Б. Чайковский, анализируя музыку других авторов, называл «темброво-поэтическим кодом» оркестровой партитуры. В статье впервые публикуется уникальный эпистолярный документ — послание Шостаковича своему ученику (после показа симфонии на композиторской кафедре Московской консерватории); также приводятся суждения самого Б. Чайковского, в которых он оценивает профессиональные качества Серова-дирижера и делится личными представлениями о стилевом аутентизме в дирижерском и шире — исполнительском искусстве. The article represents the first attempt in the Russian art criticism to deal with the phenomenon of creative interaction between one of the greatest orchestral composers of the twentieth century — Boris A. Tchaikovsky (1925–1996) and an outstanding Russian conductor — professor of Saint Petersburg Conservatoire Eduard A. Serov (1937–2016). The main subject of the analysis is the interpretation of B. Tchaikovsky’s First Symphony performed by Serov in June 2006, provided in the premiere studio record. This large-scale orchestral opus composed by B. Tchaikovsky while being a student in the Conservatory class of Dmitri D. Shostakovich has never been studied in Russian musicology before. Timbre poetics and architectonics of the earliest cyclic score by B. Tchaikovsky are conceptualized in the context of the author’s orchestral style and its components, including those designated by the composer himself (“timbre optics”, “perspective plans”, “atmospheric environment”, etc.). The analysis of stylistic adequacy, which B. Tchaikovsky called the “timbral-poetic code”, is fundamentally important in the conductor’s interpretation of the score by Serov. B. Tchaikovsky himself used this term while analyzing the music of other authors. This article is the first to publish a unique epistolary document — Shostakovich’s letter to his pupil (written after the performance of the Symphony at the Moscow Conservatory’s composition department), as well as the previously unpublished judgements of B. Tchaikovsky himself concerning Serov’s professional qualities as a conductor, and style authenticity in conducting and — more widely — in the performance practice.

Penelitian dengan judul Eksistensi Musik Death Metal Di Jakarta 1989-2000 bertujuan untuk mengetahui mengenai perkembangan aliran musik death metal di Jakarta. Dalam penelitian ini digunakan metode historis dengan tahapan heuristik, kritik sumber, interpretasi, dan historiografi. Hasil penelitian ini menginformasikan bahwa eksistensi musik death metal di Jakarta dimulai sejak berdirinya band Grausig pada tahun 1989. Kemudian dari tahun 1991-1998 terbentuk sebanyak 23 band beraliran death metal. Pada awal berdirinya band-band tersebut masih memainkan lagu-lagu milik band death metal mancanegara. Pada tahun 1993 berdiri tempat bersejarah bernama Poster Café yang menjadi venue rutin diselenggarakannya penampilan band-band death metal di Jakarta. Selama periode tersebut juga banyak sekali event-event perguruan tinggi dan sekolah yang menghadirkan band-band beraliran death metal. Kelahiran fanzine di Jakarta ditandai oleh beredarnya fanzine bernama Brainwashed Zine sejak September 1996. Pada tahun 1999 terjadi perubahan arah penulisan lirik lagu-lagu death metal, yang sebelumnya membahas “setan”, menjadi lagu-lagu bertemakan kritik sosial-politik. Perubahan tersebut terjadi akibat pemerintah otoriter Orde Baru. Pada tahun 2000 terbentuk label rekaman Rottrevore Records. Label tersebut melahirkan standard baru bagi eksistensi musik death metal di Jakarta. Standard baru tersebut adalah label rekaman harus menjadi wadah yang profesional bagi band-band death metal yang dinaunginya. Dapat disimpulkan bahwa lirik-lirik lagu death metal di Jakarta tidak hanya bertemakan “setan”, tetapi ada juga lirik-lirik lagu yang bertemakan kritik sosial-politik.Kata kunci : Eksistensi, Musik, Death Metal di Jakarta Abtract The research entitled The Existence of Death Metal Music in Jakarta 1989-2000 aims to find out about the development of death metal music in Jakarta. In this research, the historical method is used with heuristic stages, source criticism, interpretation, and historiography. The results of this study inform that the existence of death metal music in Jakarta began with the founding of the band Grausig in 1989. Then from 1991-1998 formed as many as 23 death metal bands. At the beginning of their establishment, these bands still played songs belonging to foreign death metal bands. In 1993, a historic place called Poster Café was established, which is a regular venue for performances by death metal bands in Jakarta. During this period, there were also many college and school events that featured death metal bands. The birth of a fanzine in Jakarta was marked by the circulation of a fanzine called Brainwashed Zine since September 1996. In 1999 there was a change in the direction of writing lyrics for death metal songs, which previously discussed “devil”, into songs with the theme of socio-political criticism. These changes occurred as a result of the authoritarian New Order government. In 2000 the record label Rottrevore Records was formed. The label gave birth to a new standard for the existence of death metal music in Jakarta. The new standard is that record labels must become a professional forum for death metal bands under their umbrella. It can be concluded that the lyrics of death metal songs in Jakarta are not only themed "devil", but there are also song lyrics with the theme of socio-political criticism.Keywords : death metal, poster café, rottrevore records

AbstrakKegiatan penelitian dan penulisan sejarah sosial baru dilakukan sekitar tahun 1950-an, baik di negara-negara maju maupun di negara-negara yang sedang berkembang. Di negara-negara yang sedang berkembang seperti Indonesia, kegiatan penelitian dan penulisan Sejarah Sosial masih sedikit dilakukan terutama yang bercorak sejarah sosial daerah. Penelitian dan penulisan sejarah yang sering dilakukan bercorak Sejarah Politik dan Sejarah Militer. Sejarah politik isinya menguraikan tentang pemerintahan kerajaan-kerajaan di Indonesia, pada masa pemerintahan Belanda, dan pendudukan Jepang. Sejarah Militer isinya tentang pertempuran-pertempuran baik melawan agresi Belanda maupun facisme Jepang. Dengan tersusunnya Sejarah Sosial Kota Bekasi diharapkan dapat diperoleh gambaran atau potret seluruh aspek kehidupan sosial daerah Kota Bekasi pada masa kini, dengan latar belakang masa lampau untuk memberikan proyeksi pada masa yang akan datang. Untuk merekontruksi digunakan metode sejarah yang meliputi empat tahap, yaitu: heuristik, kritik, interpretasi, dan historiografi. Kota Bekasi sebelumnya sebuah kecamatan dari Kabupaten Bekasi. Pada tahun 1982 Kecamatan Bekasi ditingkatkan statusnya menjadi kota administrasi. Pada tahun 1996 kembali ditingkatkan statusnya menjadi kotamadya. Dalam perkembangannya Kota Bekasi menjadi kawasan industri dan kawasan tempat tinggal kaum urban. Kota yang berada dalam lingkungan megapolitan ini merupakan salah satu kota besar urutan keempat di Indonesia yang terdapat di Provinsi Jawa Barat. AbstractThe Research and writing of the new social history made around the 1950s, both in developed countries and in emerging countries. In countries like Indonesia as one of the emerging countries, research and writing of Social History is few, especially about the history of social region. Research and writing of history is often done patterned with Political History or Military History. The contents of Political history usually outlining with the era of kingdoms, and the governments in Indonesia at the time of Dutch and Japanese occupation. The contents of Military History usually discussed the battles either against the aggression of the Dutch and Japanese fascism. With the completion of the Social History of Bekasi City, hopefully it can get a photograph all aspects of the social life of the city of at present, with a background in the past to provide projections of future. This research used historical method which includes four phases: heuristic, criticism, interpretation, and historiography. In the past Bekasi well known as sub-district of Bekasi District. In 1982 the sub-district of Bekasi upgraded to municipality or administration city. Bekasi become a city in 1996. In their development, Bekasi become a central of industrial area and as residence of urban society. The town is located in a megapolitan city of Jakarta, and one of the biggest cities in in the province of West Java.

This article is a response to an article by Ray Mackay (1996) which constitutes an attack on stylistic analysis in general, and the writings of the above authors and Ron Carter in particular. Mackay's article (in Language and Communication) accuses stylistics of 'scientificness' and claims that its attempt to provide objective analyses of literary texts is futile.1 We suggest that Mackay has misrepresented what stylisticians have said about objectivity, and that his understanding of objectivity, science and the nature of text-interpretative argument is seriously flawed.

In this forum onNeighborsby Jan T. Gross (Princeton, 2001), four scholars respond to the book and to the issues of evidence, causality, and interpretation that it raises. Janine P. Holc summarizes the contents and the book's approach and explores the roles of individual choice, on the one hand, and ethnic identity categories, on the other, in Gross's presentation of the causes of the massacre of the Jewish residents of Jedwabne by their non-Jewish neighbors. She argues for an approach to readingNeighborsthat links the emotive mode in which some of the narrative is expressed to a productive engagement with traumatic or violent historical episodes. This type of history resists finality and closure and creates an avenue for active engagement by members of ethnic (or other) communities with violent and traumatic pasts. Wojciech Roszkowski discusses three aspects of the debate onNeighborsin Poland: the credibility of the book, the facts of 10 July 1941 and their moral meaning, and the representativeness of the Jedwabne case and the question of “innocence” or “guilt” of nations. While arguing that the credibility ofNeighborsis low and that Gross's thesis that “one half of the Jedwabne inhabitants killed the other half” has not been proven, he writes that it is impossible to deny Polish participation in the massacre. Yet, as with other documented cases of Polish wartime evildoing, it is unfair to blow this incident out of proportion and produce unwarranted generalizations. Past and present realities are always more complicated than simple stereotypes that “Poles” or “Jews” are to blame or that they have always been innocent. William W. Hagen argues that Gross vacillates between a robust positivism promising that “a reconstruction” of “what actually took place” is possible, such that guilt and motive may confidently be assigned, and an interpretive pessimism suggesting that “we will never 'understand' why it happened.” In his assignment of causality, Gross offers a largely unconnected, in part inferential or speculative, array of determinants and motives. Although some ofthecauses Gross adduces are certainly persuasive, his analysis does not address the Jedwabne perpetrators' and witnesses' perception of the cultural meaning of the inhuman violence their Jewish neighbors were suffering. Hagen offers some suggestive historical evidence on the Poles' subjective response to the Jewish genocide and to their own wartime fate, arguing that the Jedwabne Poles' participation in the mass murder of the Jews must be conceived as a response, mediated by the penetration of ideological anti-Semitism into the countryside, to profound anxiety over the individual and social death menacing Polish identity under Soviet and Nazi occupation. Norman M. Naimark argues that the appearance of Gross'sNeighborshas created an entirely new dimension to the historiography of World War II in Poland. The book demonstrated, as has no other work, the extent to which the Poles were directly involved in the genocide of the Jews. The clarity and force of Gross's presentation provides Polish historiography with an unprecedented opportunity “to come to terms with the past.” The essay also suggests that the Jedwabne massacre needs to be looked at in the context of overall German policy “in the east” and in comparison to similar horrors taking place roughly at the same time in Lithuania, Ukraine, Belarus, and Latvia. The Nazis intentionally (and surreptitiously) sought to incite pogroms in the region, filming and photographing the horrific events for audiences back home. Their own propaganda about the “Jewish-Bolshevik” menace both prompted and was ostensibly confirmed by the pogroms. In his response, Jan T. Gross replies to Roszkowski's criticism concerning historical credibility.

In this forum on Neighbors by Jan T. Gross (Princeton, 2001), four scholars respond to the book and to the issues of evidence, causality, and interpretation that it raises. Janine P. Holc summarizes the contents and the book's approach and explores the roles of individual choice, on the one hand, and ethnic identity categories, on the other, in Gross's presentation of the causes of the massacre of the Jewish residents of Jedwabne by their non-Jewish neighbors. She argues for an approach to reading Neighbors that links the emotive mode in which some of the narrative is expressed to a productive engagement with traumatic or violent historical episodes. This type of history resists finality and closure and creates an avenue for active engagement by members of ethnic (or other) communities with violent and traumatic pasts. Wojciech Roszkowski discusses three aspects of the debate on Neighbors in Poland: the credibility of the book, the facts of 10 July 1941 and their moral meaning, and the representativeness of the Jedwabne case and the question of “innocence” or “guilt” of nations. While arguing that the credibility of Neighbors is low and that Gross's thesis that “one half of the Jedwabne inhabitants killed the other half” has not been proven, he writes that it is impossible to deny Polish participation in the massacre. Yet, as with other documented cases of Polish wartime evildoing, it is unfair to blow this incident out of proportion and produce unwarranted generalizations. Past and present realities are always more complicated than simple stereotypes that “Poles” or “Jews” are to blame or that they have always been innocent. William W. Hagen argues that Gross vacillates between a robust positivism promising that “a reconstruction” of “what actually took place” is possible, such that guilt and motive may confidently be assigned, and an interpretive pessimism suggesting that “we will never 'understand' why it happened.” In his assignment of causality, Gross offers a largely unconnected, in part inferential or speculative, array of determinants and motives. Although some of the causes Gross adduces are certainly persuasive, his analysis does not address the Jedwabne perpetrators' and witnesses' perception of the cultural meaning of the inhuman violence their Jewish neighbors were suffering. Hagen offers some suggestive historical evidence on the Poles' subjective response to the Jewish genocide and to their own wartime fate, arguing that the Jedwabne Poles' participation in the mass murder of the Jews must be conceived as a response, mediated by the penetration of ideological anti-Semitism into the countryside, to profound anxiety over the individual and social death menacing Polish identity under Soviet and Nazi occupation. Norman M. Naimark argues that the appearance of Gross's Neighbors has created an entirely new dimension to the historiography of World War II in Poland. The book demonstrated, as has no other work, the extent to which the Poles were directly involved in the genocide of the Jews. The clarity and force of Gross's presentation provides Polish historiography with an unprecedented opportunity “to come to terms with the past.” The essay also suggests that the Jedwabne massacre needs to be looked at in the context of overall German policy “in the east” and in comparison to similar horrors taking place roughly at the same time in Lithuania, Ukraine, Belarus, and Latvia. The Nazis intentionally (and surreptitiously) sought to incite pogroms in the region, filming and photographing the horrific events for audiences back home. Their own propaganda about the “Jewish-Bolshevik” menace both prompted and was ostensibly confirmed by the pogroms. In his response, Jan T. Gross replies to Roszkowski's criticism concerning historical credibility.

In this forum onNeighborsby Jan T. Gross (Princeton, 2001), four scholars respond to the book and to the issues of evidence, causality, and interpretation that it raises. Janine P. Holc summarizes the contents and the book's approach and explores the roles of individual choice, on the one hand, and ethnic identity categories, on the other, in Gross's presentation of the causes of the massacre of the Jewish residents of Jedwabne by their non-Jewish neighbors. She argues for an approach to readingNeighborsthat links the emotive mode in which some of the narrative is expressed to a productive engagement with traumatic or violent historical episodes. This type of history resists finality and closure and creates an avenue for active engagement by members of ethnic (or other) communities with violent and traumatic pasts. Wojciech Roszkowski discusses three aspects of the debate onNeighborsin Poland: the credibility of the book, the facts of 10 July 1941 and their moral meaning, and the representativeness of the Jedwabne case and the question of “innocence” or “guilt” of nations. While arguing that the credibility ofNeighborsis low and that Gross's thesis that “one half of the Jedwabne inhabitants killed the other half” has not been proven, he writes that it is impossible to deny Polish participation in the massacre. Yet, as with other documented cases of Polish wartime evildoing, it is unfair to blow this incident out of proportion and produce unwarranted generalizations. Past and present realities are always more complicated than simple stereotypes that “Poles” or “Jews” are to blame or that they have always been innocent. William W. Hagen argues that Gross vacillates between a robust positivism promising that “a reconstruction” of “what actually took place” is possible, such that guilt and motive may confidently be assigned, and an interpretive pessimism suggesting that “we will never 'understand' why it happened.” In his assignment of causality, Gross offers a largely unconnected, in part inferential or speculative, array of determinants and motives. Although some ofthecauses Gross adduces are certainly persuasive, his analysis does not address the Jedwabne perpetrators' and witnesses' perception of the cultural meaning of the inhuman violence their Jewish neighbors were suffering. Hagen offers some suggestive historical evidence on the Poles' subjective response to the Jewish genocide and to their own wartime fate, arguing that the Jedwabne Poles' participation in the mass murder of the Jews must be conceived as a response, mediated by the penetration of ideological anti-Semitism into the countryside, to profound anxiety over the individual and social death menacing Polish identity under Soviet and Nazi occupation. Norman M. Naimark argues that the appearance of Gross'sNeighborshas created an entirely new dimension to the historiography of World War II in Poland. The book demonstrated, as has no other work, the extent to which the Poles were directly involved in the genocide of the Jews. The clarity and force of Gross's presentation provides Polish historiography with an unprecedented opportunity “to come to terms with the past.” The essay also suggests that the Jedwabne massacre needs to be looked at in the context of overall German policy “in the east” and in comparison to similar horrors taking place roughly at the same time in Lithuania, Ukraine, Belarus, and Latvia. The Nazis intentionally (and surreptitiously) sought to incite pogroms in the region, filming and photographing the horrific events for audiences back home. Their own propaganda about the “Jewish-Bolshevik” menace both prompted and was ostensibly confirmed by the pogroms. In his response, Jan T. Gross replies to Roszkowski's criticism concerning historical credibility.

In this forum onNeighborsby Jan T. Gross (Princeton, 2001), four scholars respond to the book and to the issues of evidence, causality, and interpretation that it raises. Janine P. Holc summarizes the contents and the book's approach and explores the roles of individual choice, on the one hand, and ethnic identity categories, on the other, in Gross's presentation of the causes of the massacre of the Jewish residents of Jedwabne by their non-Jewish neighbors. She argues for an approach to readingNeighborsthat links the emotive mode in which some of the narrative is expressed to a productive engagement with traumatic or violent historical episodes. This type of history resists finality and closure and creates an avenue for active engagement by members of ethnic (or other) communities with violent and traumatic pasts. Wojciech Roszkowski discusses three aspects of the debate onNeighborsin Poland: the credibility of the book, the facts of 10 July 1941 and their moral meaning, and the representativeness of the Jedwabne case and the question of “innocence” or “guilt” of nations. While arguing that the credibility ofNeighborsis low and that Gross's thesis that “one half of the Jedwabne inhabitants killed the other half” has not been proven, he writes that it is impossible to deny Polish participation in the massacre. Yet, as with other documented cases of Polish wartime evildoing, it is unfair to blow this incident out of proportion and produce unwarranted generalizations. Past and present realities are always more complicated than simple stereotypes that “Poles” or “Jews” are to blame or that they have always been innocent. William W. Hagen argues that Gross vacillates between a robust positivism promising that “a reconstruction” of “what actually took place” is possible, such that guilt and motive may confidently be assigned, and an interpretive pessimism suggesting that “we will never 'understand' why it happened.” In his assignment of causality, Gross offers a largely unconnected, in part inferential or speculative, array of determinants and motives. Although some ofthecauses Gross adduces are certainly persuasive, his analysis does not address the Jedwabne perpetrators' and witnesses' perception of the cultural meaning of the inhuman violence their Jewish neighbors were suffering. Hagen offers some suggestive historical evidence on the Poles' subjective response to the Jewish genocide and to their own wartime fate, arguing that the Jedwabne Poles' participation in the mass murder of the Jews must be conceived as a response, mediated by the penetration of ideological anti-Semitism into the countryside, to profound anxiety over the individual and social death menacing Polish identity under Soviet and Nazi occupation. Norman M. Naimark argues that the appearance of Gross'sNeighborshas created an entirely new dimension to the historiography of World War II in Poland. The book demonstrated, as has no other work, the extent to which the Poles were directly involved in the genocide of the Jews. The clarity and force of Gross's presentation provides Polish historiography with an unprecedented opportunity “to come to terms with the past.” The essay also suggests that the Jedwabne massacre needs to be looked at in the context of overall German policy “in the east” and in comparison to similar horrors taking place roughly at the same time in Lithuania, Ukraine, Belarus, and Latvia. The Nazis intentionally (and surreptitiously) sought to incite pogroms in the region, filming and photographing the horrific events for audiences back home. Their own propaganda about the “Jewish-Bolshevik” menace both prompted and was ostensibly confirmed by the pogroms. In his response, Jan T. Gross replies to Roszkowski's criticism concerning historical credibility.

In this forum on Neighbors by Jan T. Gross (Princeton, 2001), four scholars respond to the book and to the issues of evidence, causality, and interpretation that it raises. Janine P. Holc summarizes the contents and the book's approach and explores the roles of individual choice, on the one hand, and ethnic identity categories, on the other, in Gross's presentation of the causes of the massacre of the Jewish residents of Jedwabne by their non-Jewish neighbors. She argues for an approach to reading Neighbors that links the emotive mode in which some of the narrative is expressed to a productive engagement with traumatic or violent historical episodes. This type of history resists finality and closure and creates an avenue for active engagement by members of ethnic (or other) communities with violent and traumatic pasts. Wojciech Roszkowski discusses three aspects of the debate on Neighbors in Poland: the credibility of the book, the facts of 10 July 1941 and their moral meaning, and the representativeness of the Jedwabne case and the question of “innocence” or “guilt” of nations. While arguing that the credibility of Neighbors is low and that Gross's thesis that “one half of the Jedwabne inhabitants killed the other half” has not been proven, he writes that it is impossible to deny Polish participation in the massacre. Yet, as with other documented cases of Polish wartime evildoing, it is unfair to blow this incident out of proportion and produce unwarranted generalizations. Past and present realities are always more complicated than simple stereotypes that “Poles” or “Jews” are to blame or that they have always been innocent. William W. Hagen argues that Gross vacillates between a robust positivism promising that “a reconstruction” of “what actually took place” is possible, such that guilt and motive may confidently be assigned, and an interpretive pessimism suggesting that “we will never 'understand' why it happened.” In his assignment of causality, Gross offers a largely unconnected, in part inferential or speculative, array of determinants and motives. Although some of the causes Gross adduces are certainly persuasive, his analysis does not address the Jedwabne perpetrators' and witnesses' perception of the cultural meaning of the inhuman violence their Jewish neighbors were suffering. Hagen offers some suggestive historical evidence on the Poles' subjective response to the Jewish genocide and to their own wartime fate, arguing that the Jedwabne Poles' participation in the mass murder of the Jews must be conceived as a response, mediated by the penetration of ideological anti-Semitism into the countryside, to profound anxiety over the individual and social death menacing Polish identity under Soviet and Nazi occupation. Norman M. Naimark argues that the appearance of Gross's Neighbors has created an entirely new dimension to the historiography of World War II in Poland. The book demonstrated, as has no other work, the extent to which the Poles were directly involved in the genocide of the Jews. The clarity and force of Gross's presentation provides Polish historiography with an unprecedented opportunity “to come to terms with the past.” The essay also suggests that the Jedwabne massacre needs to be looked at in the context of overall German policy “in the east” and in comparison to similar horrors taking place roughly at the same time in Lithuania, Ukraine, Belarus, and Latvia. The Nazis intentionally (and surreptitiously) sought to incite pogroms in the region, filming and photographing the horrific events for audiences back home. Their own propaganda about the “Jewish-Bolshevik” menace both prompted and was ostensibly confirmed by the pogroms. In his response, Jan T. Gross replies to Roszkowski's criticism concerning historical credibility.

The term “post-colonial” is a relative newcomer to the jargon of Western social science. Although discussions about the effects of colonial and imperialist domination are by no means new, the various meanings attached to the prefix “post-” and different understandings of what characterizes the post-colonial continue to make this term a controversial one. Among the criticisms leveled against it, reviewed comprehensively by Hall (1996), are the dangers of careless homogenizing of experiences as disparate as those of white settler colonies, such as Australia and Canada; of the Latin American continent, whose independence battles were fought in the 19th century; and countries such as India, Nigeria, or Algeria that emerged from very different colonial encounters in the post-World War II era. He suggests, nevertheless, that “What the concept may help us to do is to describe or characterise the shift in global relations which marks the (necessarily uneven) transition from the age of Empires to the post-independence and post-decolonisation moment” (Hall 1996, 246). Rattansi (1997) proposes a distinction between “post-coloniality” to designate a set of historical epochs and “post-colonialism” or “post-colonialist studies” to refer to a particular form of intellectual inquiry that has as its central defining theme the mutually constitutive role played by colonizer and colonized in shaping the identities of both the dominant power and those at the receiving end of imperial and colonial projects. Within the field of post-colonial studies itself, Moore-Gilbert (1997) points to the divide between “post-colonial criticism,” which has much earlier antecedents in the writings of those involved in anti-colonial struggles, and “post-colonial theory,” which distinguishes itself from the former by the incoporation of methodological paradigms derived from contemporary European cultural theories into discussions of colonial systems of representation and cultural production. Whatever the various interpretations of the term or the various temporalities associated with it might be, Hall claims that the post-colonial “marks a critical interruption into that grand whole historiographical narrative which, in liberal historiography and Weberian historical sociology, as much as in the dominant traditions of Western Marxism, gave this global dimension a subordinate presence in a story that could essentially be told from its European parameters” (Hall 1996, 250). In what follows, I will attempt a brief discussion of some of the circumstances leading to the emergence of this concept and interrogate the extent to which it lends itself to a meaningful comparison of the modern trajectories of societies in the Middle East and Central Asia.

»At tale med de døde ...« Om sækularisering og hermeneutik i Kaj Thanings forfatterskab. Bibliografi over Kaj Thanings forfatterskab[»Talking with the dead« - On secularisation and hermeneutics in the writings of Kaj Thaning]By Mikkel Crone NielsenKaj Thaning’s thesis that Gr.’s visits to England 1829-31 led to his »conversion to life« and emergence as advocate of ‘secularisation’ has proved both influential and controversial, as has his methodological approach to the interpretation of Gr.’s writings with its underpinning thesis that Gr.’s entire literary production is determined by the one basic problem: how the relationship between human life and Christianity is to be understood.Raised in a Grundtvigian and clerical family, Thaning overtly personalized the theological issues that involved him. From 1922 onwards he was an activist in the Danish student-Christian association (Danmarks kristelige Studenterforbund), which was to voice through the periodical Tidehvery a radical criticism of the inward-turned and exclusive character of contemporary Danish congregational life, which judgmentally isolated itself from those powerful secular movements going on within national life as a whole. He held that it was not the true nature of the gospel, and therefore not the proper business of the Church, to exercise a judgmental power over the secular world.Rather, the congregation instead of clinging to ‘churchliness’ should provide an open place among the people where the gospel, which is for all the people, was proclaimed. The Church must be willing to risk a weakening of Christianity’s spiritual influence in this desirable process of ‘secularisation’.Believing that such ‘secularisation’ was entirely within the spirit of Gr. himself, contrary to the received ‘myth’ of Gr., Thaning proposes (1941) to »work with Gr. in his workshop« - to follow Gr. through his successive writings, as he hammered out his beliefs. Thus he analyses Gr.’s confrontation with himself (opgør med sig selv) in the wake of the England-visits, the outcome of which was Gr.’s rejection of German idealism in favour of an antiidealistic, common-sense thinking which Thaning calls ‘realism’. In the introduction to his Nordic Mythology (1832), Gr. moves towards prioritizing the human experiencing of existence in this world, here and now, over the cultivation of an empowered Christian religion, and towards seeing Christianity as endorsing rather than opposing this existential engagement with the life given in creation and with the moment.Charged by his critics with applying modem existentialist theological concepts alien to Gr., Thaning defends the concept ‘secularisation’ which he has adopted from Friedrich Gogarten - though he can be shown to have trodden his own independent path, especially in that, where Gogarten derives his justification from the Christian faith itself, Thaning derives his from a recognition of the innate worth of created human life without necessary reference to the Christian religion. The Christian gospel disavows any apologetic intention or any imposition of authority over its adherents, and God’s word must wander the world homeless. Redemption is to be understood in terms of the freeing of created human life from its shackles - the very shackles which gnosticism would lay upon human beings, namely utter disavowal and rejection of the world and the human experiencing of it. The critique of religion informing Thaning’s writings is primarily directed against such gnosticism - which he calls ‘pilgrim-Christianity’ (pilgrimskristendom) - as it thrives in latter-day Lutherdom. Gr. is himself aware of his role as a father of such ‘secularisation’ and Thaning, following him, is prepared to find the starting-point for his own ‘secularisation-theology’ even in ‘heathen’, non-Christian human life, because this is what life demands.Central to Thaning’s interpretative method is the assumption that historical distance between an author and a commentator can be bridged when the issue is one of common human existential experiencing. With Rudolf Bultmann (and behind him, Heidegger), Thaning accepts that the neutrality of a systematic, objective analysis is thus relinquished in favour of an existential interest in the shared situation addressed. The exegete meets the text with his own premises in mind, expecting that the text will then cast new light upon them. Thus a dialogue is validated; but subjective arbitrariness in the exegete is constrained by adherence to »a formal anthropology and an existential analysis«.Thaning’s understanding of that life given to human beings in creation is greatly indebted to the religious-historical writings of Vilhelm Grønbech, who in particular rejects the distinctively European concept of human life as a pilgrimage through an imperfect world to the perfection of the heavenly homeland, along with its resultant dualistic perception of a true, spiritual self engaged in a struggle with the natural self. Herein, Thaning perceives not just a European but a universal and historical conflict between religion and human life, which stance furnishes him, in practice, with a theological hermeneutic.Thus Thaning engaged in a generational confrontation with a certain traditional Grundtvigian conceptualisation of the Christian congregation. Though he made little overt declaration of his hermeneutical method, he worked with discernible controlling concepts and brought to the task an enormous knowledge of Gr.’s writings. Accordingly he made an unparalleled impact upon Gr. studies and his work stands as an indispensable reference-point in Gr. research.

In his book, The Hunt in Arabic Poetry: from Heroic to Lyric to Metapoet- ic, Jaroslav Stetkevych traces the evolution of Arabic hunt poetry from its origins as an integral part of the heroic ode (qaṣῑda) to becoming a genre by itself (ṭardiyya) during the Islamic era, and then evolving into a meta- poetic self-conscious expression of poets in our modern time. The book is a collection of a revised book chapter and a number of revised articles that Stetkevych published between 1996 and 2013 discussing Arabic hunt poet- ry at different periods spanning from the pre-Islamic age, known in Arabic as “al-‘Aṣr al-jāhiliyya” (Age of Ignorance), to the contemporary era. This does not diminish the coherence of the book nor detract from Stetkevych’s welcomed thematic approach and his contribution to literary criticism on Arabic poetry and the socio-political and linguistic factors that influenced its development and evolution. Stetkevych divides his 256-page book into three parts. The first part, entitled “The Heroic and the Anti-Heroic in the Early Arabic Ode: The Qaṣῑdah,” consists of three chapters and discusses the evolution of the qa- ṣῑda (ode) during the Age of Ignorance. Stetkevych dissects the structure of the ode and shows how hunt poetry was an integral part of it (not an independent genre). In doing so, Stetkevych draws a vivid picture of the life and geosocial terrain of the period spanning from pre-Islamic to the mid-Umayyad eras. In the first chapter, “The Hunt in the Pre-Islamic Ode”, Stetkevych uses examples mainly from the Mu‘allaqāt of Rabī‘ah ibn Maqrum, Labād Ibn Rabī‘ah, and the famous Imru’ al-Qays to illustrate the different roles hunt poetry played based on where it fell in the structure of the ode. He further establishes that the hunt section of the ode served as the origin for what later became a genre in its own right, known as ṭardiyya. In the second and third chapters, “The Hunt in the Ode at the Close of the Archaic Peri- od” and “Sacrifice and Redemption: The Transformation of Archaic Theme in al-Ḥuṭay’ah”, Stetkevych distinguishes between the different terms for “hunt” and the ṭard that would be the “chivalrous hunt” that takes place from the back of a horse. Parsing these distinctions with poems from ‘Ab- dah Ibn al-Ṭabῑb, al-Shamardal, and ‘Amr Ibn Qamῑ’ah, among others, the author sketches how hunt poetry began taking its own shape as a freestand- ing genre during the Umayyad period: when hunt poetry “is no longer ex- plicitly ‘chivalrous’… we are now in the realm of falconry” (55). The second part of the book, “The Hunt Poem as Lyric Genre in Classi- cal Arabic Poetry: The Ṭardiyyah”, is made up of four chapters that discuss the maturation of the hunt poem under ‘Abbasid rule. During that period, the cultural, economic, scientific, and social renaissance left its impact on poets and poetry. Hunt poetry became a genre of its own, taking an inde- pendent form made of hunt-specialized shorter lyrics. Stetkevych begins this section in chapter 4, “The Discreet Pleasures of the Courtly Hunt: Abū Nuwās and the ‘Abbasid Ṭardiyyah”. He shows how the move of hunt po- etry from subjective to objective description was utterly distinctive under “Abu Nuwas, the master of archaic formulas, who is capable of employing those formulas in conceits that are no longer archaic” (102). Chapter 5, “From Description to Imagism: ‘Alῑ Ibn al-Jahm’s ‘We Walked over Saffron Meadows’,” shows how Ibn al-Jahm and other Abbasid poets such as Ibn al-Mu‘tazz and Abū Firās al-Ḥamdānī “exercise considerable stylistic freedom in developing their own markedly varied but distinctive ṭardiyyah-po- ems from the broadly imagist to the highly lyrical to the fully narrative” (131). Stetkevych shows how the rhythm of hunt poetry was liberated as the Abbasid poets moved from the rajaz meter used in pre-Islamic hunt poetry to modifying and modulating “the ṭawῑl meter to create the unique rhythmic qualities” (131). In chapter 6, “Breakthrough into Lyricism: The Ṭardiyyahs of Ibn al-Mu‘tazz,” the author uses multiple examples to show how “the ṭardiyyah not only found that new lyrical voice but also allowed it … to become a closely integrated and even more broadly formative part of that poet’s multi-genre ‘project’ of a ‘new lyricism’ of Arabic poetry” (183). Chapter 7, “From Lyric to Narrative: The Ṭardiyyah of Abu Firas al-Ḥam- danῑ,” demonstrates how the prince poet “abandons the short lyric mono- rhyme for the sprawling narrative rhymed couplets (urjuzah muzdawijah)” (9). Stetkevych notes that although this “shift did not result (yet) in the achievement of a separate narrative genre, it can …be rightfully viewed as a step in the exploration of the possibility of a large narrative form” (187). The third and final section, “Modernism and Metapoesis: the Pursuit of the Poem,” discusses the revival of hunt poetry by modernist poets after being neglected for centuries. Chapter 8, “The Modernist Hunt Poem in ‘Abd al-Wahhab al Bayatῑ and Aḥmad ‘Abd al Mu‘ṭῑ Ḥijazῑ,” examines two poems of the two poets, both entitled Ṭardiyyah. Stetkevych argues that the Iraqi free-verse poet, al-Bayatῑ, transformed the “genre-and form-bound, rhymed and metered lyric… into a formally free exploration of the dra- matic and tragic image of the hunted hare as a metaphor for the political and cultural predicament of modern man” (9). Meanwhile, Hijazi’s Ṭardi- yyah transforms “the poignant lyricism of the traditional hunt poem into an expression of the poet’s personal experience of political exile and poetic restlessness and frustration” (10). The author concludes that the two poets’ explorations into ṭardiyyah “helped not only to preserve and activate the classical metaphor of hunt/ṭardiyyah into modernity, but in equal measure to validate and enrich the achievements of modern Arabic poetry” (242). In the last chapter, “The Metapoetic Hunt of Muḥammad ‘Afῑfῑ Maṭar,” Stetkevych—through interpretation, comparison, and criticism—shows how Maṭar’s modern poetry while “hermeneutically connected to the old genre… [is] very personal mythopoesis” (10). Stetkevych’s book does not discuss Andalusian hunt poetry, such as that of ‘Abbās Ibn Firnās, Ibn Hadhyal and Ibn al-Khaṭīb, nor the Ṭardiyyah of the contemporary Egyptian poet ‘Abdulraḥman Youssef, published in 2011 after the revolution in Tunisia and two days before the Egyptian revolution started. While including such examples would have further bol- stered this already strong and convincing argument and further illustrated the evolution of hunt poetry from the pre-Islamic era into modern times, their absence does not take away from the book writ large. Stetkevych’s excellent English translations of the poetry cited make his examples more accessible to readers who do not know Arabic. Overall, the book is a very valuable addition to literary criticism of Arabic poetry written in English and will surely be a great asset for scholars, students, and others interested in Arabic poetry as a reflection of a cultural and humanistic experience. Gaby SemaanAssistant Professor of ArabicUniversity of Toledo

In his book, The Hunt in Arabic Poetry: from Heroic to Lyric to Metapoet- ic, Jaroslav Stetkevych traces the evolution of Arabic hunt poetry from its origins as an integral part of the heroic ode (qaṣῑda) to becoming a genre by itself (ṭardiyya) during the Islamic era, and then evolving into a meta- poetic self-conscious expression of poets in our modern time. The book is a collection of a revised book chapter and a number of revised articles that Stetkevych published between 1996 and 2013 discussing Arabic hunt poet- ry at different periods spanning from the pre-Islamic age, known in Arabic as “al-‘Aṣr al-jāhiliyya” (Age of Ignorance), to the contemporary era. This does not diminish the coherence of the book nor detract from Stetkevych’s welcomed thematic approach and his contribution to literary criticism on Arabic poetry and the socio-political and linguistic factors that influenced its development and evolution. Stetkevych divides his 256-page book into three parts. The first part, entitled “The Heroic and the Anti-Heroic in the Early Arabic Ode: The Qaṣῑdah,” consists of three chapters and discusses the evolution of the qa- ṣῑda (ode) during the Age of Ignorance. Stetkevych dissects the structure of the ode and shows how hunt poetry was an integral part of it (not an independent genre). In doing so, Stetkevych draws a vivid picture of the life and geosocial terrain of the period spanning from pre-Islamic to the mid-Umayyad eras. In the first chapter, “The Hunt in the Pre-Islamic Ode”, Stetkevych uses examples mainly from the Mu‘allaqāt of Rabī‘ah ibn Maqrum, Labād Ibn Rabī‘ah, and the famous Imru’ al-Qays to illustrate the different roles hunt poetry played based on where it fell in the structure of the ode. He further establishes that the hunt section of the ode served as the origin for what later became a genre in its own right, known as ṭardiyya. In the second and third chapters, “The Hunt in the Ode at the Close of the Archaic Peri- od” and “Sacrifice and Redemption: The Transformation of Archaic Theme in al-Ḥuṭay’ah”, Stetkevych distinguishes between the different terms for “hunt” and the ṭard that would be the “chivalrous hunt” that takes place from the back of a horse. Parsing these distinctions with poems from ‘Ab- dah Ibn al-Ṭabῑb, al-Shamardal, and ‘Amr Ibn Qamῑ’ah, among others, the author sketches how hunt poetry began taking its own shape as a freestand- ing genre during the Umayyad period: when hunt poetry “is no longer ex- plicitly ‘chivalrous’… we are now in the realm of falconry” (55). The second part of the book, “The Hunt Poem as Lyric Genre in Classi- cal Arabic Poetry: The Ṭardiyyah”, is made up of four chapters that discuss the maturation of the hunt poem under ‘Abbasid rule. During that period, the cultural, economic, scientific, and social renaissance left its impact on poets and poetry. Hunt poetry became a genre of its own, taking an inde- pendent form made of hunt-specialized shorter lyrics. Stetkevych begins this section in chapter 4, “The Discreet Pleasures of the Courtly Hunt: Abū Nuwās and the ‘Abbasid Ṭardiyyah”. He shows how the move of hunt po- etry from subjective to objective description was utterly distinctive under “Abu Nuwas, the master of archaic formulas, who is capable of employing those formulas in conceits that are no longer archaic” (102). Chapter 5, “From Description to Imagism: ‘Alῑ Ibn al-Jahm’s ‘We Walked over Saffron Meadows’,” shows how Ibn al-Jahm and other Abbasid poets such as Ibn al-Mu‘tazz and Abū Firās al-Ḥamdānī “exercise considerable stylistic freedom in developing their own markedly varied but distinctive ṭardiyyah-po- ems from the broadly imagist to the highly lyrical to the fully narrative” (131). Stetkevych shows how the rhythm of hunt poetry was liberated as the Abbasid poets moved from the rajaz meter used in pre-Islamic hunt poetry to modifying and modulating “the ṭawῑl meter to create the unique rhythmic qualities” (131). In chapter 6, “Breakthrough into Lyricism: The Ṭardiyyahs of Ibn al-Mu‘tazz,” the author uses multiple examples to show how “the ṭardiyyah not only found that new lyrical voice but also allowed it … to become a closely integrated and even more broadly formative part of that poet’s multi-genre ‘project’ of a ‘new lyricism’ of Arabic poetry” (183). Chapter 7, “From Lyric to Narrative: The Ṭardiyyah of Abu Firas al-Ḥam- danῑ,” demonstrates how the prince poet “abandons the short lyric mono- rhyme for the sprawling narrative rhymed couplets (urjuzah muzdawijah)” (9). Stetkevych notes that although this “shift did not result (yet) in the achievement of a separate narrative genre, it can …be rightfully viewed as a step in the exploration of the possibility of a large narrative form” (187). The third and final section, “Modernism and Metapoesis: the Pursuit of the Poem,” discusses the revival of hunt poetry by modernist poets after being neglected for centuries. Chapter 8, “The Modernist Hunt Poem in ‘Abd al-Wahhab al Bayatῑ and Aḥmad ‘Abd al Mu‘ṭῑ Ḥijazῑ,” examines two poems of the two poets, both entitled Ṭardiyyah. Stetkevych argues that the Iraqi free-verse poet, al-Bayatῑ, transformed the “genre-and form-bound, rhymed and metered lyric… into a formally free exploration of the dra- matic and tragic image of the hunted hare as a metaphor for the political and cultural predicament of modern man” (9). Meanwhile, Hijazi’s Ṭardi- yyah transforms “the poignant lyricism of the traditional hunt poem into an expression of the poet’s personal experience of political exile and poetic restlessness and frustration” (10). The author concludes that the two poets’ explorations into ṭardiyyah “helped not only to preserve and activate the classical metaphor of hunt/ṭardiyyah into modernity, but in equal measure to validate and enrich the achievements of modern Arabic poetry” (242). In the last chapter, “The Metapoetic Hunt of Muḥammad ‘Afῑfῑ Maṭar,” Stetkevych—through interpretation, comparison, and criticism—shows how Maṭar’s modern poetry while “hermeneutically connected to the old genre… [is] very personal mythopoesis” (10). Stetkevych’s book does not discuss Andalusian hunt poetry, such as that of ‘Abbās Ibn Firnās, Ibn Hadhyal and Ibn al-Khaṭīb, nor the Ṭardiyyah of the contemporary Egyptian poet ‘Abdulraḥman Youssef, published in 2011 after the revolution in Tunisia and two days before the Egyptian revolution started. While including such examples would have further bol- stered this already strong and convincing argument and further illustrated the evolution of hunt poetry from the pre-Islamic era into modern times, their absence does not take away from the book writ large. Stetkevych’s excellent English translations of the poetry cited make his examples more accessible to readers who do not know Arabic. Overall, the book is a very valuable addition to literary criticism of Arabic poetry written in English and will surely be a great asset for scholars, students, and others interested in Arabic poetry as a reflection of a cultural and humanistic experience. Gaby SemaanAssistant Professor of ArabicUniversity of Toledo

Abstract Hume argues that whenever we seem to be motivated by reason, there are unnoticed calm passions that play this role instead, a move that is often criticised as ad hoc (e. g. Stroud 1977 and Cohon 2008). In response, some commentators propose a conceptual rather than empirical reading of Hume’s conativist thesis, either as a departure from Hume (Stroud 1977), or as an interpretation or rational reconstruction (Bricke 1996). I argue that conceptual accounts face a dilemma: either they render the conativist thesis trivial, or they violate Hume’s thesis that ‘a priori, any thing may produce any thing’ (THN 1.4.5.30). I defend an empirical construal of Hume’s conativist thesis. I provide two theoretical frameworks within which Hume’s appeal to the calm passions may be justified: first, by the framework of theoretical virtues, and secondly, by lights of his own “rules by which to judge of causes and effects” (THN 1.3.15).

Since Romaine's (1982) pioneering work, historical sociolinguistics has been studying the relationships between language and society in its socio-historical context by focusing on the study of language variation and change with the use of variationist methods. Work on this interdisciplinary sub-field subsisting on sociology, history and linguistics is expanding, as shown, for example, by Milroy (1992), Nevalainen & Raumolin-Brunberg (1996; 2003), Ammon, Mattheier & Nelde (1999), Jahr (1999), Kastovsky & Mettinger (2000), Bergs (2005), Conde-Silvestre (2007), Trudgill (2010), or Hernández-Campoy & Conde-Silvestre (2012). These works have been elucidating the theoretical limits of the discipline and applying the tenets and findings of contemporary sociolinguistic research to the interpretation of linguistic material from the past. Yet in the course of this development historical sociolinguistics has sometimes been criticised for lack of representativeness and its empirical validity has occasionally been questioned. Fortunately, in parallel to the development of electronic corpora, the assistance of corpus linguistics and social history has conferred ‘empirical’ ease and ‘historical’ confidence on the discipline.

This article considers an important source on the evolution of Russian historical science. These are four letters written in 1926–1928 by the leading historian I.M. Grevs (1860–1941) to his colleague S.I. Archangelsky (1882–1958), a future corresponding member of the Academy of Sciences of the USSR. Unfortunately, the response letters of S.I. Arkhangelsky have been lost. The letters under study focus on two main problems. I.M. Grevs unsuccessfully helped S.I. Arkhangelsky to publish the historical source he had translated – “The Edict on Maximum Prices” of Emperor Diocletian. In this connection, the problems of scientific formation and ideas of S.I. Arkhangelsky, the difficulties faced by the USSR historians of the 1920s who wanted to publish their scientific works, and the scholarly activity of I.M. Grevs in the Soviet period are considered. S.I. Arkhangelsky and I.M. Grevs adhered to different directions in interpreting world economic history – Eduard Meyer and Karl Bücher, respectively. S.I. Arkhangelsky refused to criticize I.M. Grevs, the reasons for which are discussed here. Another chief point of interest in the letters is the problems of local history studies. Based on the analysis of the exchange of views, new interpretations of the facts of I.M. Grevs’s biography – his travels along the Volga River, meetings with the figures of the Nizhny Novgorod Scientific Society for the Study of Local History – are offered. These and other issues are presented in the biographical context of communication ties between both the historians. The article is accompanied by the full texts of the letters and commentaries

The popular historical narrative of the batik Sidoarjo needs to be reexamined based on historical methodology so that there is no historical bias based only on oral stories of the general public. Many studies are trapped in an inaccurate understanding of local historicity. As a result, these various studies have failed to fit batik Sidoarjo into its full context, instead it has become a kind of narrative standardization on its characteristics and history. This study aims to criticize the historical construction that has been popular in relation to the basic understanding of batik Sidoarjo and to explain the position of batik Sidoarjo in the cultural framework of its people. This article is the author's attempt to provide an analysis or explanation that is different from the historical narrative of batik Sidoarjo which is commonly used in various discussions. This research is classified as a qualitative research, using the historical method which consists of four stages, namely heuristics, source criticism, interpretation, and historiography. This research uses historical and sociological approaches to collect, select, and critically examine historical sources of Sidoarjo batik, resulting in historical facts. The results showed that the historicity of batik Sidoarjo refers to the batik activities in the areas of Kedungcangkring, Jetis, Sekardangan, Gajah Mada St. (Peranakans), and Tulangan, all of which have a direct relationship with both Peranakans nor indigenous. Batik Sidoarjo is not framed by traditional rituals, nor is it under the control and domination of the royal aristocracy. Its growth is based on the factor of the economic needs of the supporting community, which tends to be a trading commodity. The presence of other groups of people or nations such as Peranakan Chinese, Indo-European, Dutch, Arabic contributed to the birth of Sidoarjo batik. Keywords: batik, Sidoarjo, historical criticism.AbstrakNarasi sejarah batik Sidoarjo yang populer perlu dikaji ulang dengan didasari metodologi sejarah sehingga tidak terjadi bias sejarah yang hanya berdasar pada cerita lisan masyarakat umum. Banyak penelitian yang terjebak dalam pemahaman historisitas setempat yang kurang tepat. Akibatnya, berbagai kajian tersebut tidak berhasil mendudukkan batik Sidoarjo sesuai dengan konteksnya secara utuh, malah menjadi semacam standardisasi narasi pada karakteristik maupun sejarahnya. Penelitian ini bertujuan untuk mengkritisi konstruksi sejarah yang telah populer terkait pemahaman dasar tentang batik Sidoarjo serta menjelaskan kedudukan batik Sidoarjo dalam kerangka budaya masyarakatnya. Artikel ini merupakan upaya penulis untuk memberikan analisis atau paparan yang berbeda dari narasi sejarah batik Sidoarjo yang umum dilakukan pada berbagai pembahasan. Penelitian ini tergolong dalam penelitian kualitatif, dengan menggunakan metode sejarah yang terdiri atas empat tahap, yaitu heuristik, kritik sumber, interpretasi, dan historiografi. Penelitian ini menggunakan pendekatan historis dan sosiologis untuk mengumpulkan, menyeleksi, dan menguji secara kritis sumber-sumber sejarah batik Sidoarjo, sehingga menghasilkan fakta sejarah. Hasil penelitian memperlihatkan bahwa historisitas batik Sidoarjo merujuk pada aktivitas pembatikan yang ada di wilayah Kedungcangkring, Jetis, Sekardangan, Jl. Gajah Mada (China Peranakan), dan Tulangan yang kesemuanya saling terkait memiliki hubungan langsung baik itu pembatikan China peranakan maupun pribumi. Batik Sidoarjo tidak dikerangkai oleh ritual adat, juga tidak di bawah kendali dan dominasi aristokrasi kraton. Pertumbuhannya didasari faktor kebutuhan ekonomi masyarakat pendukungnya, sifatnya cenderung merupakan komoditas dagang. Hadirnya golongan masyarakat atau bangsa lain seperti China Peranakan, Indo-Eropa, Belanda, Arab turut berpengaruh melahirkan batik Sidoarjo.Kata Kunci: batik, Sidoarjo, kritik sejarah. Author:Asy Syams Elya Ahmad : Universitas Negeri Surabaya References:Abbas, Irwan. (2014). Memahami Metodologi Sejarah antara Teori dan Praktek. ETNOHISTORI: Jurnal Ilmiah Kebudayaan dan Kesejerahan, 1(1), 33–41.Abdurrahman, Dudung. (1999). Metode Penelitian Sejarah. Yogyakarta: Logos.Ahmad, Asy Syams Elya. (2013). Kajian Estetik Batik Sidoarjo. Tesis. Tidak Diterbitkan. Bandung: Program Studi Magister Desain, Institut Teknologi Bandung.Anas, Biranul, Hasanuddin, Ratna Panggabean, Yanyan Sunarya. (1997). Indonesia Indah-Buku ke 8; “Batik”. Jakarta: Yayasan Harapan Kita/BP 3 TMII.Anshori, Yusak & Kusrianto, Adi. (2011). Keeksotisan Batik Jawa Timur. 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Summary Well geomechanics and "smart" completion designs in many of Saudi Aramco's fields are essential in supporting the company's efforts to apply the extended-reach and MRC well technologies. MRC wells are being aggressively targeted to optimize development economics, enhance recovery, maximize production, minimize differential drawdown across the sand face, reduce sanding potential, and defer water coning. In addition, many unconsolidated sandstone reservoirs require positive sand-control measures. As such, Expandable Sand Screen (ESS) tubulars have seen a recent surge in applicability for completing conventional and MRC wells in sand-prone, troublesome formations. Today, solid expandable tubulars are being tested on a number of wells in a pseudo-monodiameter structure. Though attractive, the long-term performance of these tools in the Arabian Reservoir environments is yet to be explored. This paper simulates the impact of reservoir production and depletion on expandable tubulars and sand-screen completions when the compacting reservoir behaves as a permeable poroelastic medium. A general poroelastic solution model encompassing a multitude of boundary and initial conditions is discussed in this paper. The model simulates the uniaxial (Ko) testing of solid and hollow geomaterial cylinders (Geertsma 2005). Thus, it helps infer about potential problems that might influence the survivability of "expandables" and disrupt the outflow from the well. The proof cases on reservoir and caprocks presented herein are supported with numerical application, experimental validation, and physical interpretation of the coupled poromechanical processes that are reflected in the anisotropic, time-dependent rock responses during testing. The manuscript also demonstrates that this enhanced approach to modeling visualization will ultimately ease the tractability of the pertinent physical phenomena as well as support the model's computational credibility to engineers and experimentalists in the oil and gas industry. Introduction Many applications in our industry take place in fluid-saturated rocks that exhibit rock matrix anisotropy due to their mode of geological deposition or diagenesis. These applications are commonly subjected to nonisothermal conditions. The theory of anisotropic poroelasticity was developed by Biot (1955), improved by Biot and Willis (1957), and reformulated with applications to civil and petroleum engineering problems by Thompson and Willis (1991) and Abousleiman and Cui (2000), among others. The reformulation of the anisotropic poroelastic theory while using laboratory techniques for the measurements of the anisotropic poromechanical parameters (Scott and Abousleiman 2002) had been of great help in assessing the effects of the parameters anisotropy in a few of the engineering applications. These applications included, for example, borehole and cylinder analyses (Abousleiman and Cui 1998; Kanj et al. 2003) and the Mandel problem (Abousleiman et al. 1996). Sherwood (1993) proposed a modification of the Biot theory of poroelasticity (Biot 1941) to include the chemical potentials of all chemical species, within the pore fluid. Within this context, Sherwood and Bailey (1994) conducted an axisymmetric, plane-strain analysis of shale swelling around a wellbore and extended it to include the case of a finite hollow-cylindrical shale sample being subjected to a hydrostatic state of stress. In a more rigorous approach, chemical effects can be addressed by considering the pore fluid to comprise two constituents, solute and solvent, and appropriately accounting for the solute and solvent transport in and out of the porous matrix (Sherwood 1994; Ekbote and Abousleiman 2005).

Ozet Dovus klubu hikayesinde, tuketim kulturunun icinde hapsolmus bir karakterin, bu kulture karsi anarsi ruhlu bir karakter ile tanismasiyla baslayan degisimi anlatmaktadir. Hikayede yaraticinin gozunde modern zaman insaninin yansimasinin, uclarda bir yasam deneyimi ve yasadiklari anlatilmaktadir. Hikaye Anlatici karakterinin okuyucu ve izleyiciye aktardiklari uzerine ilerleyen bir kurguya sahiptir. Hikayede bas kahraman anlatici ve icinde bulundugu mekanlar, tuketim kulturu temeline dayali ve elestirel bakis acisi ile sunulur. Bu elestiri baslarda mensubu oldugu kulture Anlaticinin tanistigi ve bu kulture oldukca aykiri kisilige sahip Tyler Durden’dan sonra uzaklasmasi ile olmaktadir. Hikaye Anlatici uzerinden Tyler Durden oncesi ve sonrasi olarak bakis acilari degistirmektedir. Film ve kitap arasinda farkliliklar bulunsa da temelinde ayni metin ve kurguda islenmekte, Film yazar tarafindan film hikayenin gelistirilmis bir versiyonu olarak yorumlanmistir. Bu anlamda iki ayri uretimin ortak bir butun olarak bakilmasi ve calisma da kitap ve film ortak birer okuma araci olarak kullanilacaktir. Bu calismada kitap ya da film okuma analizi, film kitap arasi karsilastirma gibi olmanin otesinde, mekanlar ve mekanlari okumak uzerine bir calismadir. Calimanin butununde hem kitap, hem de filmde gecen ortak yada farkli mekanlar bir arada ele alınacaktır. Bu anlamda 2 ayri sanat dalinda; edebiyat ve sinema uzerinden; butunlesik bir analiz yapilacaktir. Bu ele alista Mekanlar ve anlatici karakterinin mekanlar ile iliskileri hedefli bir okuma yapilmasi amaclanmaktadir. Anahatar Kelimeler: Chuck Palahniuk, Dovus Klubu, sinema, Edebiyat, Tasarim, Tuketim kulturu, Modernizm, Mekan. Abstract In design readings, the relationship between place and the user of place is quite strong. Feelings that the user has against the place are considered as subheading not only in philosophy of place but also in other philosophies. It is much more powerful to establish this relationship especially on the basis of material-based philosophies, such as consumption culture. Fight Club was written by Chuck Palahniuk in 1996, and was filmed by David Fincher in 1999. The fact that the fighting club has two different interpretations creates a coherence produced in two different branches of art, supported by the author as opposed to creating a situation of inconsistencies and negativity between them. The story of Fight Club tells of the change of a character trapped in the consumption culture that began when he was introduced to a character with an anarchy spirit against this culture. In this story, the main character narrator and its places are presented with a critical point of view based on consumer culture. The Fight Club book and film tell the story of modern times man’s reflection, life experiences at the end and lives trapped within the culture of consumption in the eye of the creator of the story. The story is based on what the narrator character conveys to the reader and the viewer. In the story, the main character narrator and the places are presented with a critical point of view and based on consumer culture. This criticism is done while the narrator goes away from the culture which he is a member of after meeting Tyler Durden, who is quite contrary to this culture. The story changes through the narrator, with the perspective of before and after Tyler Durden. Although there are differences between the film and the book, both are based on the same text and fiction and the film was interpreted by the author as an improved version of the story. In this sense, two separate productions will be considered as a whole and the book and the film will be used as a common reading tool in this study. This is not a study on reading analysis of a book or a film or comparison between a film and a book, but a study on reading places and spaces. In the whole study, both common and different places in the book and the film will be discussed together. In this sense, in two different art branches; through literature and cinema; an integrated analysis will be conducted. With this approach, it is aimed to make a targeted reading of the places and the relationships. The aim of this study is to make a reading of the relationships of the Narrative character with places. Keywords: Chuck Palahniuk, Fight Club, cinema, literature, design, consumer culture, modernism, place

AbstractWe re-examine the history of the element “nipponium” discovered by a Japanese chemist Masataka Ogawa in 1908. Since 1996 H.K. Yoshihara has made extensive research into Ogawa’s work and revealed evidence that nipponium proposed for the place of the atomic number of 43 was actually rhenium (75). In this paper, we provide critical re-interpretations of the existing information and confirmed that Ogawa left indisputable evidence that nipponium was in fact rhenium. We further discuss the reasons for the existing doubts and criticism against Ogawa’s discovery and Yoshihara’s interpretation, and attempt to resolve them.

Fantastic Realism, rising from the surrealism movement, began with the Vienna Fantastic Realism school, founded in 1945 by Rudolf Hausner, Ernst Fuchs, Wolfgang Hutter, Anton Lehmden and Arik Brauer after World War II. Famous critic Prof. Johann Muschik named this core group "Fantastic Realists" due to the religious, mysterious subjects and symbolist approaches, that they dealt with in their works. In this research, the works of Ernst Fuchs (1930-2015), one of the world's leading representative of the fantastic realist art movement, "The Cross (1950)" and the "Human, Horse, Eagle Trio (1991)" by Erol Deneç (1941-…) are analyzed by using E. B. Feldmann’s "investigative art criticism" method, which is included in the discipline-based art education. E. B. Feldmann's method of "investigative art criticism"; consists of description, analysis, interpretation and judgment sub-titles. After examining the works independently, they were compared in terms of their similarities and differences. Despite the subject and technical richness of fantastic realism, a comparative study of the works of two artists from different lives and cultures produced with similar characteristics emphasizes the importance of the study, in this aspect it is thought that it will contribute to art education and shed light on researchers interested in the field. Keywords: Fantastic Realism, Ernst Fuchs, Erol Deneç, investigative art criticism

In Europe there have appeared several important collections on Marxist literary theory, such as Francis Mulhern’s Contemporary Marxist Literary Criticism (1992) and Terry Eagleton and Drew Milne’s Marxist Literary Theory: A Reader (1996). However, Chinese voices are not included at all in these volumes. Maybe this lacuna results from a lack of awareness of Chinese Marxist aesthetics on the part of most European literary historians and critics. In this article, we seek to discuss the circumstances of European scholars’ contacts with Chinese Marxist aesthetics, mainly in the 1960s and 1970s. Starting from the variation theory perspective proposed by Shunqing Cao we will discuss how European scholars read and misread what they perceived as the meaning and universal applicability of what was happening in China at the time. The discussion is divided into three parts: the utopian interpretation of the Chinese theory of revolution in France, the critical reception by Eastern European Marxists, and the sympathetic interpretation by sinologists such as the Dutch diplomat and literary scholar Douwe Fokkema.

The article is devoted to the analysis of the creative activity of Dmitry Merezhkovsky (1865–1941), the “literary source” of the time of the “spiritual turning point” (N. Berdyaev). It is pointed out that Merezhkovsky, being one of the initiators and theorists of Russian symbolism and a well-known representative of the Russian religious renaissance, did not want to limit himself to either “symbolist” or national frameworks, as he always “claimed more: leadership, literary and artistic, religious and philosophical, social and political” (M. Vish­nyak). This kind of attitude to creative work initially assumed an intercultural approach, which obviously implied a polylogue of religion, culture and philosophy. Beginning with the justification of a “new direction” in art – symbolism, or “subjective-artistic criticism” regarded as a genuine method of philosophizing and searching for the religious meaning of culture, Me­rezh­kovsky widely developed in his works the themes of the conjunction of culture and revolution, the contradictions of culture and civilization, “religious community”, the need for re­li­gious, moral and cultural revival of society by forming the Universal Church. These and other themes were immediately included by him in a wide cultural and historical-philo­so­phical contexts, which enabled Merezhkovsky to make a deeper analysis and provide a more interesting interpretation. It is suggested that intercultural philosophical position of Merezhkovsky was formed as a result of his recognition of uniqueness and importance of each philosophical system and tradition. A conclusion is made that this helped the Russian thinker to reach an essentially new level of philosophical dialogism, which can be regarded as an example of intercultural polylogue.

Should ethical standards be enforced on performers or their critics? Asking such a question may stimulate memories of personal or professional censorship and fearful imaginings of oppressive, fascist regimes. Indeed, many of us might immediately respond by arguing that personal expression should never be inhibited since a person's right to free expression is an essential tenet of a democratic society. Yet this question raises issues that are not easily dismissed and it may remind us that it is equally important to remember that a number of responsibilities and repercussions can accompany the public expression of personal experiences and opinions. A short time ago, I was told that this journal had to grapple with similar considerations when a performer decided to pursue legal action after reading a critical account of his/her performance in M/C Reviews. When I was first asked to comment on this situation, I initially found myself considering familiar arguments that defend the right to free speech. However, upon reflection, I think there is more to be said about the long term causes and effects of such an action and I wish to explore how this incident illustrates the friction that can be generated when traditional and emergent value systems are adopted indiscriminately. To me, the dispute between the performer and M/C illustrates what seems to be a growing confusion surrounding interpretations of what is right (what is legal or permissible?), what is true (whose opinion?), and what is good (the performance or an audience's response?). Although definitions of what is right, true, and good have always had to negotiate shifting boundaries, the increasingly blurry usages of these terms are reflecting a waxing disregard for how these distinctions impact upon our judgements. Jon McKenzie has offered some explanation of this new social attitude in his recently published text Perform or Else. Throughout this text, he argues that 'performance' is now widely recognised in commercial industries as a conceptual tool for assessing human and technological standards and that this concept is fast becoming the dominant social model of evaluation. According to McKenzie, traditional philosophical distinctions are becoming less influential, while performance 'effectiveness' and 'efficiency' are increasingly being viewed as the new measurements of what is right, true, and good (178-79). McKenzie's assessment of the social demand to perform echoes the comments of other twentieth-century theorists who have warned us of the growing objectification and alienation of human labour. However, his message is timely and provocative and it offers some explanation of the confusion surrounding critical appraisals of performances and performer's experiences. There is certainly evidence of a growing demand for efficient and effective appraisal of all human performance as individuals, companies, and governments produce reports, conduct market research, and continue to try and predict what results will be produced before any investment of personal or financial energy is committed. Yet as our society continues to develop a dependency on critical opinion, it unfortunately seems to be distancing audiences and performers, devaluing personal interpretations, and encouraging fewer exchanges between groups with varying values. Such distinctive separations can, in turn, isolate social groups and identities and invite exclusivity and intolerance for other evaluations. This kind of alienation seems to have governed the dispute between the performer and the critic from M/C. Although these trends may have made it socially 'permissible' to pursue legal action against critics, performers, or anyone else who expresses negative or unpalatable opinions, I think it is essential that we continue to ask whether is it right, or good to do so. Is it right or good to penalise someone for expressing a personal opinion? Is it right or good to object to an evaluation when someone offers a performance for appraisal? These are, of course, ethical questions that can only be hinted at here. However, I believe it is important to remember that live performing art forms can physically bring together varying social demographics and that they are therefore in a unique position to provide conceptual bridges between social groups with differing opinions. I wish to emphasise this fact and to ask readers to consider whether they wish opinions to become more and more polarised, or whether they wish to finds ways to enable us to appreciate and evaluate the diverse interpretations of performances more harmoniously. It is true that the 'objective' certainties associated with the basic principles of aesthetic appreciation are sagging under the weight of arguments from critical theory and postmodernism. It may also be true that the only certainty that will soon enjoy popular appeal may be one that suggests that pragmatic considerations should govern what we view as right, true, and good. All of these developments introduce challenges that need to be addressed. However, I do not believe they exclude the possibility that a shared theoretical perspective can be developed that can allow us to build bridges of understanding between varying opinions and social demands. Philosophers and social theorists such as Michael Stocker, Alessandro Ferrara, and Linda Zagzebski all agree that the development of such a perspective is possible. They have also suggested that finding this shared view may require us to embrace a more malleable and less certain way of knowing what is good about our opinions. Instead, they encourage individuals to reinvestigate ancient views of 'wisdom' and 'understanding' and to review personal emotional responses to what we believe is true and good. I believe such advice is valuable and that arguments like these offer theoretical tools for those involved in the criticism and practice of the performing arts still wanting to find bridges between disparate views. While 'critical' reviews can often alienate performers from those who are evaluating their performance, if we are to initiate understanding and tolerance, and celebrate and value difference, the beliefs and emotional responses that accompany and drive each of our opinions do require further reflection, articulation, and discussion. Some theatre critics already appear to recognise how important emotional responses are to the expression and reworking of personal and traditional beliefs. For example, some have suggested that a theatre performance can "make you stop breathing" (Christofis) or be "breathtaking" (McCallum) or "poignant and powerful" (Lambert). Other critics have suggested that performances contain "images of emotional power" (Kelly) with which an "audience can empathise, [and] sympathise" because the subject is close to their hearts" (Hinde). As these kinds of responses clearly embellish and entwine the experiences of performers and critics, perhaps we can eventually discover how powerful, passionate, and, sometimes, visceral experiences contribute benefits that can be objectively defined and defended. Alternatively, perhaps the inclusion of negative emotional responses in performances and critical reviews can provide some impetus for personal and professional development. Many might dismiss emotional responses as theoretical tools because individuals' emotional experiences reveal different qualities and/or intensities and seem to contain no shared causal indicator that can be objectively defined and graded. Yet if these kinds of experiences are really so subjective, so capricious and diverse, why do some theatre reviewers continue to describe and record them? If such reactions are peculiar to each individual and there is no guarantee that they can be replicated in other individuals, personal views of emotional and physical responses would only be viewed as useless, superfluous information. However, it seems that critics sharing their experiences are suggesting that something in the performance is powerful enough to evoke similar emotions in others. Furthermore, they seem to be indicating that these experiences are important and worth pursuing. So, instead of viewing powerful emotional responses as completely subjective, perhaps it is more accurate and fruitful to recognise how they signal the presence of beliefs and values that are formed inter-subjectively. A purely subjective appraisal of a performance would require a subject that is capable of receiving, processing and evaluating impressions in social isolation. A number of influential theorists like Bourdieu, Foucault, and Eagleton have argued that such a view is misleading since 'individuals' are developed from class and power relations and subjects cannot extricate themselves from social discourses of some kind. As a result of adopting perspectives like these, it is plausible to suggest that audiences may value or dismiss the ideas and experiences of the person recommending the performance as well as ideas about the performance itself. Furthermore, a person's experiences or ideas may seem to relate to our own, or be regarded as more valuable or significant than our own, and this may affect the way we assess any descriptions provided by others. Since emotional responses experienced by others can sometimes influence our own affective states, it seems theatres, critics, and performers that establish public social identities do need to become aware of how these experiences are stimulated. Some theatre scholars have suggested that analyses of the emotive element of audience reception must record and defend emotional responses according to an objective set of logical criteria that can be judged relevant by experts (Martin and Sauter 34; de Toro 120). However, the logical criteria that many performance scholars suggest should determine such evaluations are often purely empirical and I would suggest that the study of emotions and feelings must also incorporate the often forgotten epistemic values of personal understanding and wisdom. If these approaches are explored and integrated, I believe critics and performers may be reconciled through the recognition that personal opinions can change and that our responses should be discussed and defended rather than feared, attacked, or penalised. References Bourdieu, Pierre. Distinction: A Social Critique of the Judgement of Taste. Trans. Richard Nice. London: Routledge and Kegan Paul, 1986. Christofis, Lee. "Colour Amid Darkest Drama." Rev. of The Funniest Man in the World, by Daniel Keene. Keene/Taylor Theatre Project, Grant Street Theatre, Melbourne. The Australian. May 2000: F18 de Toro, Fernando. Theatre Semiotics: Text and Staging in Modern Theatre. Trans. John Lewis. Ed. Carole Hubbard. Toronto: U of Toronto P, 1995. Eagleton, Terry. The Ideology of the Aesthetic. Oxford: Blackwell, 1990. Ferrara, Alessandro. Reflective Authenticity: Rethinking the Project of Modernity. London: Routledge, 1998. Foucault, Michel. "What is an Author?" Aesthetics: The Big Questions. Ed. Carolyn Korsmeyer. Oxford: Blackwell, 1998. 270-87. Hinde, Suellen. "Play Oh So True." Rev. of Choking in the Comfort Zone, by Stephen Carleton. Darwin Theatre Company, Brown's Mart, Darwin. Northern Territory News 15 Sep. 2000: W26. Kelly, Veronica. "Pretty, But as Deep as a Shallow Puddle." Rev. of The Skin of Our Teeth, by Thornton Wilder. Queensland Theatre Company, Optus Playhouse, Brisbane. The Australian 21 Feb. 2000: F18. Lambert, Catherine. "Revival of a Classic." Rev. of Death of a Salesman, by Arthur Miller, Melbourne Theatre Company, Fairfax Theatre, Melbourne. Sunday Herald Sun, 23 July 2000: LH87. Martin, Jacqueline, and Willmar Sauter. Understanding Theatre. Stockholm: Almqvist and Wiksell International, 1995. McCallum, John. "Don't Keep it Quiet." Rev. of Hollow Ground, by Nick Parsons. The NIDA Company, Belvoir Street Theatre, Sydney. The Australian 27 Mar. 2000: F15. McKenzie, Jon. Perform or Else: From Discipline to Performance. London: Routledge, 2001. Stocker, Michael. Valuing Emotions. Cambridge: Cambridge UP, 1996. Zagzebski, Linda Trinkaus. Virtues of the Mind: An Inquiry into the Nature of Virtue and Ethical Foundations of Knowledge. Cambridge: Cambridge UP, 1996. Citation reference for this article MLA Style Kehoul, Gillian. "Performing Feeling Without Fear" M/C: A Journal of Media and Culture 5.1 (2002). [your date of access] < http://www.media-culture.org.au/0203/perform.php>. Chicago Style Kehoul, Gillian, "Performing Feeling Without Fear" M/C: A Journal of Media and Culture 5, no. 1 (2002), < http://www.media-culture.org.au/0203/perform.php> ([your date of access]). APA Style Kehoul, Gillian. (2002) Performing Feeling Without Fear. M/C: A Journal of Media and Culture 5(1). < http://www.media-culture.org.au/0203/perform.php> ([your date of access]).

The difficulty of reading Allen Ginsberg's poetry is a recurring theme in criticism of his work and that of other post-WWII "Beat Generation" writers. "Even when a concerted effort is made to illuminate [Beat] literature," laments Nancy M. Grace, "doing so is difficult: the romance of the Beat life threatens to subsume the project" (812). Of course, the Beat life is romantic to the extent that it is romantically regaled. Continual romantic portrayals, such as that of Ginsberg in the recent movie Howl (2010), rekindle the Beat romance for new audiences with chicken-and-egg circularity. I explore this difficulty of reading Ginsberg that Grace and other critics identify by articulating it with respect to "Kaddish"—"Ginsberg's most highly praised and his least typical poem" (Perloff 213)—as a difficulty of interpreting Ginsberg suspiciously. Philosopher Paul Ricoeur's theories of interpretation—or "hermeneutics"—provide the theoretical foundation here. Ricoeur distinguishes between a romantic or "restorative" mode of interpretation, where meaning is reverently reconciled to a text assumed to be trustworthy, and a "suspicious" approach, where meaning is aggressively extrapolated from a text held as unreliable. In order to bring these theories to bear on "Kaddish" and its criticism, I draw on Rita Felski's pioneering work in relating Ricoeur's concept of "suspicious reading" to the field of literature. Is it possible to read "Kaddish" suspiciously? Or is there nothing left for suspicious readers to expose in texts such as "Kaddish" that are already self-exposing? In "Kaddish," Ginsberg tells the story of his mother Naomi Ginsberg, a Russian Jewish immigrant, who died in a mental hospital in 1956. It is a lengthy prose poem and spans a remarkable 19 pages in Ginsberg's Collected Poems (1984). In the words of Maeera Y. Shreiber, "Kaddish" "is a massive achievement, comprised of five numbered parts, and an interpellated 'Hymmnn' between parts two and three" (84). I focus on the second narrative part, which forms the bulk of the poem, where the speaker—I shall refer to him henceforth as "Allen" in order to differentiate between Ginsberg's poetic self-representation and Ginsberg-the-author—recounts the nervous breakdowns and hospital movements of his mother, whom he calls by her first name, Naomi. I begin by illustrating the ways in which Allen focalises Naomi in the text, and suggest that his attempts to "read" her suspicious mind alternate between restorative and suspicious impulses. I then take up the issue of reading "Kaddish" suspiciously. Acknowledging Ricoeur's assertion that psychoanalysis is an unequivocal "school of suspicion" (32), I consider James Breslin's psychoanalytic criticism on "Kaddish," in particular, his reading of what is easily the most contentious passage in the poem: the scene where Naomi solicits Allen for sex. I regard this passage as a microcosm of the issues that beset a suspicious reading of "Kaddish"—such as the problem posed by the self-exposing poem and poet—and I find that Breslin's response to it raises interesting questions on the politics of psychoanalysis and the nature of suspicious interpretation. Finally, I identify an unpublished thesis on Ginsberg's poetry by Sarah Macfarlane and classify her interpretation of "Kaddish" as unambiguously suspicious. My purpose is not to advance my own suspicious reading of "Kaddish" but to highlight the difficulties of reading "Kaddish" suspiciously. I argue that while it is difficult to read "Kaddish" suspiciously, to do so offers a fruitful counterbalance to the dominant restorative criticism on the poem. There are as yet unexplored hermeneutical territories in and around this poem, indeed in and around Ginsberg's work in general, which have radical implications for the future direction of Beat studies. Picking her tooth with her nail, lips formed an O, suspicion—thought's old worn vagina— (Ginsberg, "Kaddish" 218)Ginsberg constructs Naomi's suspicion in "Kaddish" via Allen's communication of her visions and descriptions of her behaviour. Allen relates, for example, that Naomi once suspected that Hitler was "in her room" and that "she saw his mustache in the sink" ("Kaddish" 220). Subsequently, Allen depicts Naomi "listening to the radio for spies—or searching the windowsill," and, in an attempt to "read" her suspicious mind, suggests that she envisages "an old man creep[ing] with his bag stuffing packages of garbage in his hanging black overcoat" ("Kaddish" 220). Allen's gaze thus filters Naomi's; he watches her as she watches for spies, and he animates her visions. He recalls as a child "watching over" Naomi in order to anticipate her "next move" ("Kaddish" 212). On one fateful day, Naomi "stared out the window on the Broadway Church corner"; Allen interprets that she "spied a mystical assassin from Newark" ("Kaddish" 212). He likewise observes and interprets Naomi's body language and facial expressions. When she "covered [her] nose with [a] motheaten fur collar" and "shuddered at [the] face" of a bus driver, he deduces that, for Naomi, the collar must have been a "gas mask against poison" and the driver "a member of the gang" ("Kaddish" 212). On the one hand, Allen's impetus to recover "the lost Naomi" ("Kaddish" 216)—first lost to mental illness and then to death—may be likened to Ricoeur's concept of a restorative hermeneutic, "which is driven by a sense of reverence and goes deeper into the text in search of revelation" (Felski 216). As if Naomi's mind constitutes a text, Allen strives to reveal it in order to make it intelligible. What drives him is the cathartic impulse to revivify his mother's memory, to rebuild her story, and to exalt her as "magnificent" and "mourned no more" ("Kaddish" 212), so that he may mourn no more. Like a restorative reader "driven by a sense of reverence" (Felski 216), he lauds Naomi as the "glorious muse that bore [him] from the womb [...] from whose pained head [he] first took Vision" ("Kaddish" 223). Critics of "Kaddish" also observe the poem's restorative impulse. In "Strange Prophecies Anew," Tony Trigilio reads the recovery of Naomi as "the recovery of a female principle of divinity" (773). Diverging from Ginsberg's earlier poem "Howl" (1956), which "represses signs of women in order to forge male prophetic comradeship," "Kaddish" "constructs maternity as a source of vision, an influence that precedes and sustains prophetic language. In 'Kaddish', Ginsberg attempts to recover the voice of his mother Naomi, which is muted in 'Howl'" (776). Shreiber also acknowledges Ginsberg's redemption of "the feminine, figured specifically as the lost mother," but for her it "is central to both of the long poems that make his reputation," namely "Kaddish" and "Howl" (81). She cites Ginsberg's retrospective confession that "Howl" was actually about Naomi to argue that, "it is in the course of writing 'Howl' that Ginsberg discovers his obligation to the elided (Jewish) mother—whose restoration is the central project of 'Kaddish'" (81). On the other hand, Allen's compulsion to "cut through" to Naomi, to talk to her as he "didn't when [she] had a mouth" ("Kaddish" 211), suggests the brutality of a suspicious hermeneutic where meanings "must be wrestled rather than gleaned from the page, derived not from what the text says, but in spite of what it says" (Felski 223). When Naomi was alive and "had a mouth," Allen aggressively "pushed her against the door and shouted 'DON'T KICK ELANOR!'" in spite of her message: "Elanor is the worst spy! She's taking orders!" ("Kaddish" 221). As a suspicious reader wrestles with a resistant text, Allen wrestles with Naomi, "yelling at her" in exasperation, and even "banging against her head which saw Radios, Sticks, Hitlers—the whole gamut of Hallucinations—for real—her own universe" ("Kaddish" 221).Allen may be also seen as approaching Naomi with a suspicious reader's "adversarial sensibility to probe for concealed, repressed, or disavowed meanings" (Felski 216). This is most visible in his facetiously professed "good idea to try [to] know the Monster of the Beginning Womb"—to penetrate Naomi's body in order to access her mind "that way" ("Kaddish" 219). Accordingly, in his psychoanalytic reading of "Kaddish," James Breslin understands Allen's "incestuous desires as expressing [his] wish to get inside his mother and see things as she does" (424). Breslin's interpretation invokes the Freudian concept of "epistemophilia," which Bran Nicol defines as the "desire to know" (48).Freud is one of "three masters" of suspicion according to Ricoeur (32). Freud, Nietzsche, and Marx "present the most radically contrary stance to the phenomenology of the sacred and to any hermeneutics understood as the recollection of meaning" (Ricoeur 35). They "begin with suspicion concerning the illusions of consciousness, and then proceed to employ the stratagem of deciphering" (Ricoeur 34). Freud deciphers the language of the conscious mind in order to access the "unconscious"—that "part of the mind beyond consciousness which nevertheless has a strong influence upon our actions" (Barry 96). Like their therapeutic counterparts, psychoanalytic critics distinguish "between the conscious and the unconscious mind," associating a text's "'overt' content with the former" and "'covert' content with the latter, privileging the latter as being what the work is 'really' about" (Barry 105). In seeking to expose a text's unconscious, they subscribe to a hermeneutic of suspicion's "conviction that appearances are deceptive, that texts do not gracefully relinquish their meanings" (Felski 216). To force texts to relinquish their meanings suspicious readers bear "distance rather than closeness; guardedness rather than openness; aggression rather than submission; superiority rather than reverence; attentiveness rather than distraction; exposure rather than tact" (Felski 222).For the most part, these qualities fail to characterise Breslin's psychoanalytic criticism on "Kaddish" and "Howl." Far from aggressive or superior, Breslin is a highly sympathetic reader of Ginsberg. "Many readers," he complains, are "still not sympathetic to the kind [sic] of form found in these poems" (403). His words echo Trigilio's endorsement of Marjorie Perloff's opinion that critics are too often "unwilling to engage the experimental scope of Ginsberg's poems" (Trigilio 774). Sympathetic reading, however, clashes with suspicious reading, which "involves a sense of vigilant preparedness for attack" (Shand in Felski 220). Breslin is sympathetic not only to the experimental forms of "Kaddish" and "Howl," but also to their attestation to "deep, long-standing private conflicts in Ginsberg—conflicts that ultimately stem from his ambivalent attachment to his mother" (403). In "Kaddish," Allen's ambivalent feelings toward his mother are conspicuous in his revolted and revolting reaction to her exposed body, combined with his blasé deliberation on whether to respond to her apparent sexual provocation: One time I thought she was trying to make me come lay her—flirting to herself at sink—lay back on huge bed that filled most of the room, dress up round her hips, big slash of hair, scars of operations, pancreas, belly wounds, abortions, appendix, stitching of incisions pulling down in the fat like hideous thick zippers—ragged long lips between her legs—What, even, smell of asshole? I was cold—later revolted a little, not much—seemed perhaps a good idea to try—know the Monster of the Beginning Womb—Perhaps—that way. Would she care? She needs a lover. ("Kaddish" 219)In "Confessing the Body," Elizabeth Gregory observes that "Naomi's ordinary body becomes monstrous in this description—not only in its details but in the undiscriminating desire her son attributes to it ('Would she care?')" (47). In exposing Naomi thus, Allen also exposes himself and his own indiscriminate sexual responsiveness. Such textual exposés pose challenges for those who would practice a hermeneutic of suspicion by "reading texts against the grain to expose their repressed or hidden meanings" (Felski 215). It appears that there is little that is hidden or repressed in "Kaddish" for a suspicious reader to expose. As Perloff notes, "the Ginsberg of 'Kaddish' is writing somewhat against the grain" (213). In writing against the grain, Ginsberg inhibits reading against the grain. A hermeneutic of suspicion holds "that manifest content shrouds darker, more unpalatable truths" (Felski 216). "Kaddish," however, parades its unpalatable truths. Although Ginsberg as a Beat poet is not technically included among the group of poets known as the "confessionals," "Kaddish" is typical of a "confessional poem" in that it "dwells on experiences generally prohibited expression by social convention: mental illness, intra-familial conflicts and resentments, childhood traumas, sexual transgressions and intimate feelings about one's body" (Gregory 34). There is a sense in which "we do not need to be suspicious" of such subversive texts because they are "already doing the work of suspicion for us" (Felski 217). It is also difficult to read "Kaddish" suspiciously because it presents itself as an autobiographical history of Ginsberg's relationship with his mother. "Kaddish" once again accords with Gregory's definition of "confessional poetry" as that which "draws on the poet's autobiography and is usually set in the first person. It makes a claim to forego personae and to represent an account of the poet's own feelings and circumstances" (34). These defining features of "Kaddish" make it not particularly conducive to a "suspicious hermeneutic [that] often professes a lack of interest in the category of authorship as a means of explaining the ideological workings of texts" (Felski 222). It requires considerable effort to distinguish Allen, speaker and character in "Kaddish," from Ginsberg, celebrity Beat poet and author of "Kaddish," and to suspend knowledge of Ginsberg's public-private life in order to pry ideologies from the text. This difficulty of resisting biographical interpretation of "Kaddish" translates to a difficulty of reading the poem suspiciously. In his psychoanalytic reading, Breslin's lack of suspicion for the poem's confession of autobiography dilutes his practice of an inherently suspicious mode of interpretation—that of psychoanalysis. His psychoanalysis of Ginsberg shows that he trusts "Kaddish" to confess its author's intimate feelings—"'It's my fault,' he must have felt, 'if I had loved my mother more, this wouldn't have happened to her—and to me'" (Breslin 422)—whereas a hermeneutic of suspicion "adopts a distrustful attitude toward texts" (Felski 216). That said, Breslin's differentiation between the conscious and unconscious, or surface and underlying levels of meaning in "Kaddish" is more clearly characteristic of a hermeneutic of suspicion's theory that texts withhold "meanings or implications that are not intended and that remain inaccessible to their authors as well as to ordinary readers" (Felski 216). Hence, Breslin speculates that, "on an unconscious level the writing of the poem may have been an act of private communication between the poet" and his mother (430). His response to the previously quoted passage of the poem suggests that while a cursory glance will restore its conscious meaning, a more attentive or suspicious gaze will uncover its unconscious: At first glance this passage seems a daring revelation of an incest wish and a shockingly realistic description of the mother's body. But what we really see here is how one post-Freudian writer, pretending to be open and at ease about incestuous desire, affects sophisticated awareness as a defense [sic] against intense longings and anxieties. The lines are charged with feelings that the poet, far from "confessing out," appears eager to deny. (Breslin 422; my emphasis)Breslin's temporary suspicious gaze in an otherwise trusting and sympathetic reading accuses the poet of revealing incestuous desire paradoxically in order to conceal incestuous desire. It exposes the exposé as an ironic guise, an attempt at subterfuge that the poet fails to conceal from the suspicious reader, evoking a hermeneutic of suspicion's conviction that in spite of itself "the text is not fully in control of its own discourse" (Felski 223). Breslin's view of Ginsberg's denial through the veil of his confession illuminates two possible ways of sustaining a suspicious reading of "Kaddish." One is to distrust its claim to confess Ginsberg, to recognise that "confession's reality claim is an extremely artful manipulation of the materials of poetry, not a departure from them" (Gregory 34). It is worth mentioning that in response to his interviewer's perception of the "absolute honesty" in his poem "Ego Confession," Ginsberg commented: "they're all poems, ultimately" (Spontaneous 404–05). Another way is to resist the double seduction operative in the text: Naomi's attempted seduction of Allen, and, in narrating it, Allen's attempted seduction of the psychoanalytic critic.Sarah Macfarlane's effort to unmask the gender politics that psychoanalytic critics arguably protect characterises her "socio-cultural analysis" (5) of "Kaddish" as unmistakably suspicious. While psychoanalytic critics "identify a 'psychic' context for the literary work, at the expense of social or historical context" (Barry 105), Macfarlane in her thesis "Masculinity and the Politics of Gender Construction in Allen Ginsberg" locates Allen's "perception of Naomi as the 'Monster of the Beginning Womb'" in the social and historical context of the 1950s "concept of the overbearing, dominating wife and mother who, although confined to the domestic space, looms large and threatening within that space" (48). In so doing, she draws attention to the Cold War discourse of "momism," which "envisioned American society as a matriarchy in which dominant mothers disrupted the Oedipal structure of the middle-class nuclear family" (Macfarlane 33). In other words, momism engaged Freudian explanations of male homosexuality as arising from a son's failure to resolve unconscious sexual desire for his mother, and blamed mothers for this failure and its socio-political ramifications, which, via the Cold War cultural association of homosexuality with communism, included "the weakening of masculine resolve against Communism" (Edelman 567). Since psychoanalysis effectively colludes with momism, psychoanalytic criticism on "Kaddish" is unable to expose its perpetuation in the poem. Macfarlane's suspicious reading of "Kaddish" as perpetuating momism radically departs from the dominant restorative criticism on the poem. Trigilio, for example, argues that "Kaddish" revises the Cold War "discourse of containment—'momism'—in which the exposure of communists was equated to the exposure of homosexuals" (781). "Kaddish," he claims, (which exposes both Allen's homosexuality and Naomi's communism), "does not portray internal collapse—as nationalist equations of homosexual and communist 'threats' would predict—but instead produces […] a 'Blessed' poet who 'builds Heaven in Darkness'" (782). Nonetheless, this blessed poet wails, "I am unmarried, I'm hymnless, I'm Heavenless" ("Kaddish" 212), and confesses his homosexuality as an overwhelming burden: "a mortal avalanche, whole mountains of homosexuality, Matterhorns of cock, Grand Canyons of asshole—weight on my melancholy head"("Kaddish" 214). In "Confessing the Body," Gregory asks whether confessional poetry "disclose[s] secrets in order to repent of them, thus reinforcing the initial negative judgement that kept them secret," or "to decathect that judgement" (35). While Allen's confession of homosexuality exudes exhilaration and depression, not guilt—Ginsberg critic Anne Hartman is surely right that "in the context of [the 1950s] public rituals of confession and repentance engendered by McCarthyism, […] poetic confession would carry a very different set of implications for a gay poet" (47)—it is pertinent to question his confession of Naomi. Does he expose Naomi in order to applaud or condemn her maternal transgressions? According to the logic of the Cold War "urge to unveil, [which] produces greater containment" (Trigilio 794), Allen's unveiling of Naomi veils his desire to contain her, unable as she is "to be contained within the 1950's [sic] domestic ideal of womanhood" (Macfarlane 44). "Ginsberg has become such a public issue that it's difficult now to read him naturally; you ask yourself after every line, am I for him or against him. And by and large that's the criticism he has gotten—votes on a public issue. (I see this has been one of those reviews.)" (Shapiro 90). Harvey Shapiro's review of Kaddish and Other Poems (1961) in which "Kaddish" first appeared illuminates the polarising effect of Ginsberg's celebrity on interpretations of his poetry. While sympathetic readings and romantic portrayals are themselves reactions to the "hostility to Ginsberg" that prevails (Perloff 223), often they do not sprout the intellectual vigour and fresh perspectives that a hermeneutic of suspicion has the capacity to sow. Yet it is difficult to read confessional texts such as "Kaddish" suspiciously; they appear to expose themselves without need of a suspicious reader. Readers of "Kaddish" such as Breslin are seduced into sympathetic biographical-psychoanalytical interpretations due to the poem's purported confession of Ginsberg's autobiography. As John Osborne argues, "the canon of Beat literature has been falsely founded on biographical rather than literary criteria" (4). The result is that "we are for the immediate future obliged to adopt adversarial reading strategies if we are to avoid entrenching an already stale orthodoxy" (Osborne 4). Macfarlane obliges in her thesis; she succeeds in reading "Kaddish" suspiciously by resisting its self-inscribed psychoanalysis to expose the gender politics of Allen's exposés. While Allen's confession of his homosexuality suggests that "Kaddish" subverts a heterosexist model of masculinity, a suspicious reading of his exposure of Naomi's maternal transgressions suggests that the poem contributes to momism and perpetuates a sexist model of femininity. Even so, a suspicious reading of a text such as "Kaddish" "contains a tacit tribute to its object, an admission that it contains more than meets the eye" (Felski 230). Ginsberg's own prophetic words bespeak as much:The worst I fear, considering the shallowness of opinion, is that some of the poetry and prose may be taken too familiarly, […] and be given the same shallow treatment, this time sympathetic, as, until recently, they were given shallow unsympathy. That would be the very we of fame. (Ginsberg, Deliberate 252)ReferencesBarry, Peter. Beginning Theory: An Introduction to Literary and Cultural Theory. 2nd ed. Manchester: Manchester UP, 2002. Breslin, James. "The Origins of 'Howl' and 'Kaddish.'" On the Poetry of Allen Ginsberg. Ed. Lewis Hyde. Ann Arbor: U of Michigan P, 1984. 401–33.Edelman, Lee. "Tearooms and Sympathy, or, The Epistemology of the Water Closet." The Lesbian and Gay Studies Reader. Ed. Henry Abelove, Michèle Aina Barale, and David M. Halperin. New York: Routledge, 1993. 553–74.Felski, Rita. "Suspicious Minds." Poetics Today 32.2 (2011): 215–34. Ginsberg, Allen. Deliberate Prose: Selected Essays 1952-1995. Ed. Bill Morgan. London: Penguin, 2000.---. "Kaddish." Collected Poems 1947–1980. New York: Harper and Row, 1984. 209–27. ---. Spontaneous Mind: Selected Interviews 1958–1996. Ed. David Carter. New York: Harper Collins, 2001. Grace, Nancy M. "Seeking the Spirit of Beat: The Call for Interdisciplinary Scholarship." Rev. of Kerouac, the Word and the Way: Prose Artist as Spiritual Quester, by Ben Giamo, and The Bop Apocalypse: The Religious Visions of Kerouac, Ginsberg, and Burroughs, by John Lardas. Contemporary Literature 43.4 (2002): 811–21.Gregory, Elizabeth. "Confessing the Body: Plath, Sexton, Berryman, Lowell, Ginsberg and the Gendered Poetics of the 'Real.'" Modern Confessional Writing: New Critical Essays. Ed. Jo Gill. London: Routledge, 2006. 22–49. Hartman, Anne. "Confessional Counterpublics in Frank O'Hara and Allen Ginsberg." Journal of Modern Literature 28.4 (2005): 40–56. Howl. Dir. Rob Epstein and Jeffrey Friedman. Perf. James Franco. Oscilloscope Pictures, 2010.Macfarlane, Sarah. "Masculinity and the Politics of Gender Construction in Allen Ginsberg." MA thesis. Brown U, 1999.Nicol, Bran. "Reading Paranoia: Paranoia, Epistemophilia and the Postmodern Crisis of Interpretation." Literature and Psychology 45.1/2 (1999): 44–62.Osborne, John. "The Beats." A Companion to Twentieth Century Poetry. Blackwell Reference Online. Ed. Neil Roberts. 2003. 16 Oct. 2011 ‹http://www.blackwellreference.com/subscriber/uid=1205/tocnode?id=g9781405113618_chunk_g978140511361815&authstatuscode=202›.Perloff, Marjorie. "A Lion in Our Living Room: Reading Allen Ginsberg in the Eighties." Poetic License: Essays on Modernist and Postmodernist Lyric. Evanston: Northwestern UP, 1990. 199–230.Ricoeur, Paul. Freud and Philosophy: An Essay on Interpretation. Trans. Denis Savage. New Haven: Yale UP, 1970. Shapiro, Harvey. "Exalted Lament." Rev. of Kaddish and Other Poems 1958-1960, by Allen Ginsberg. On the Poetry of Allen Ginsberg. Ed. Lewis Hyde. Ann Arbor: U of Michigan P, 1984. 86–91. Shreiber, Maeera Y. "'You Still Haven't Finished with Your Mother': The Gendered Poetics of Charles Reznikoff and Allen Ginsberg." Singing in a Strange Land: A Jewish American Poetics. Stanford: Stanford UP, 2007. 46–97.Trigilio, Tony. "'Strange Prophecies Anew': Rethinking the Politics of Matter and Spirit in Ginsberg's Kaddish." American Literature 71.4 (1999): 773–95.

In 1991 the Michigan Womyn's Music Festival evicted two female identified transsexual attendees on the grounds that they violated its women only policy of admittance. The Festival, established in 1976 and now the largest of its kind, turned into a "microcosm of the conflicts that have plagued the women's movement" (Rubin 18) and revived widespread debate about the place of trans and non-standard gender performances in feminist activism. A pro-trans event, aptly named Camp Trans, was held outside the Festival's gates with the aim of inciting greater interest in the area. The Festival's founder and on going organiser, Lisa Vogel, responded with a statement in 2001 claiming the "intention is for the Festival to be for womyn-born womyn, meaning people who were born and have lived their entire life experience as female" (Vogel 2000). This resulted in the exclusion of not only trans individuals, but also a plethora of non-conventional gender identities. Bitter debate ensued, revealing the Festival's role not just in appealing to a defined, recognisable demographic, but in constructing and maintaining an entire category of identity. My initial encounters with the Festival occurred through independent media and the internet. It become particularly widely debated after artists from the Queer orientated Mr Lady record label (most famously Le Tigre, fronted by riot grrl icon Kathleen Hanna) confirmed that they would perform at the event, despite knowledge of the anti-trans policy. Perhaps the most poignant reflection came from Ciara Xyerra's 2001 zine A Renegade's Handbook To Love And Sabotage. She comments that the Festival's intent was to provide "not only just a 'safe space' for women, but specifically for 'womyn born womyn.'" […] this essentialist logic is […] flawed in that it assumes every "womyn born womyn" was socialized in exactly the same way, that differences regarding race, class, ability, personal history, have no bearing on how a woman perceives herself as a woman […](69). Certainly the revised womyn born womyn label is a problematic way of dealing with the situation. The standard woman is assumed not to encounter trans issues, at least not in a way that impacts on her sense of gendered self. This issue provokes comparisons to the race debates that wreaked havoc through US feminism in early eighties. The sentiments of the Camp Trans protest echo Audre Lorde's 1984 criticism that: As white women ignore their built-in privilege of whiteness and define women in terms of their experience alone, then women of Color become 'other', the outsider whose experience is too alien to comprehend (632). In retrospect what remains most striking about the race debates is how incredibly poorly they were handled. The period is marked by a tendency towards splinter and separatist groups, evident in the writing of people like bell hooks and Mary Daly. Communication between various factions collapsed amid accusations of racism and ignorance of the wider struggle, leaving ruptures still visible today. (Gubar 884-890) The emphasis has shifted from presumed racial background to presumed biological characteristics, but at its core this is the same argument about which performances of self are given legitimacy, and which are passed off as outside the interests of the feminist community. Indeed the Festival's anti-trans policy can also be traced back to the early 1980's, stemming from clashes between separatists and post-operative transsexuals entering feminist activism. In both instances there has been an assumption that the majority of members within the community experience the world from a common perspective, a collective sense of self at the core of the movement, outlining its wider agenda. I am reminded of Gayatri Spivak's comment that "We take the explanations we produce to be the grounds of our action; they are endowed with coherence in terms of our explanation of self" (In Other Worlds 104). Conflict arises when internal factions find their concerns being overlooked, and begin questioning exactly whose experience is taken as the model for the collective self. There is a tendency towards viewing this as a threat to the movement's solidarity. In an effort to maintain wider group cohesion, divergent voices are often dealt with by claiming they arise from entirely different strains of selfhood. New identities, or at the least hyphenated subcategories, proliferate under "the essentialist's claim that there must be an ultimate (that is, comprehensive), complete, consistent, coherent set of types" (Spinosa and Dreyfus 72). These redefinitions explain and dispel difference without actually addressing it. It would be naive to assume this sort of essentialism exists only for the Festival and older activist methodology. While Queer theory has certainly given us new tools for understanding the issues, its practical application does not necessarily avoid "knitting out more fashionably an otherwise reconstructed […] essentialism" (Jagose). As people like Martha Nussbaum and Benita Parry have argued, if somewhat problematically, there is a fine line between fluidity and dissolution. Activist and liberal scepticism towards deconstructive methodology contains an at least reasonably justified trepidation towards tinkering with political communities which have proved historically successful. The unfortunate revival of the 'old school' activism versus 'new school' theory attitude, itself founded on an essentialist belief in a single, correct ideological stance, has further complicated matters. Festival attendee Janel Smith, writing for one of the bastions of 'old school' activism, Off Our Backs, voiced activist scepticism when commenting that post structuralism is "an entire movement and theory […] designed to debunk these 'myths' about gender and racial identity." She continues: We often make sense of other people by categorizing them into labels and boxes that we ourselves feel comfortable with. Dominant discourse tends to dismiss this process as inherently negative, one that limits people and their understanding of self and projected identity (17). The criticism of dominant academic discourse is worth consideration. If it "is not possible for us to describe our own archive, since it is from within these rules that we speak" (Foucault 130), we need to be acutely aware of the way we act within culture, and wary of any movement which claims to fully recognise and transcend its boundaries. Our treatment of identity needs to "avoid the mistake of slipping between 'no absolute truth' and 'absolutely no truth,'" as Felicity Newman, Tracey Summerfield and Reece Plunkett suggest. From the alternate perspective, Aviva Rubin argues "our activism is characterized by seemingly incompatible inclinations to generalize and to particularize" (17). She writes that the Festival's attempt to develop a "theoretical 'she'" with which we "identify sameness – she shares our politics, our goals, our place" is fundamentally flawed as "the notion collapses when confronted with the differences we've deliberately ignored" (8). This leaves the situation double bound. A standard sense of gendered self provides unity and a workable common agenda, but comes into conflict with the identities it has excluded from its definition. The unified self combats repression, but, as Judith Butler so aptly puts it, "exclusion operates prior to repression" (71). However there are certainly areas of common ground. Rubin's "plea for grey", or an area "between absolutes," (20) is remarkably similar to Smith's endeavour to exist "somewhere in-between butch and femme" (14). Yet, for the Festival, that difference was enough to cause a gap between those who found it "an atmosphere of unparalleled safety" (Smith 13) and the pro-trans attendees who felt they needed "an escort to get out safely after darkness fell" (Wilchins 2000). As these relative similarities exist, it is disappointing to see that the arising differences have met with such aggressively negative reactions. Given the unlikeliness of everyone agreeing on a definitive understanding in the near future, it would seem beneficial to shift the focus away from searches for correct identities and ideologies, and develop new approaches to the debates themselves. I am again reminded of a comment from Gayatri Spivak, this time from her 1992 essay "More on Power/Knowledge". She comments that "if the lines of making sense of something are laid down in a certain way, then you are able to do only those things with that something which are possible within and by arrangement of those lines" (151). This is as true for our concepts of self as it is for any other issue. If we cannot reach outside of the structures of culture to find more universally true categories, or expect an ideological stance to present entirely new and more correct understandings, how we handle the arising debate is of major importance. Homi Bhabha's comment that "our political references and priorities […] are not there in some primordial, naturalistic sense" (26) does not necessarily render them null and void. There is a difference between needing to debate an identity or ideology, and needing to discard or reinvent it. Instead of looking for a true model of self or a correct ideology, the problem becomes looking at the cultural structure we have, trying to "recognise it as best one can and, through one's necessarily inadequate interpretation, to work to change it" (Spivak 1988 120). From this perspective the conflict that emerges from the Festival is as important as the possibilities for final resolution. Rather than treating differences as immediate problems and being "shocked, disappointed and instantly sidetracked into seeking resolution" (Rubin 20), it seems possible to consider the debate important in its own right. In practice this would mean keeping the lines of communication between the various factions open, and treating debate as an integral and on going process, rather than an unwelcome confrontation to be settled as quickly and quietly as possible. The commitment of the Camp Trans protesters to "workshops to educate festival goers" (Wilchins 2000), and their modest success, indicates that maintaining ongoing debate is a workable and productive approach. On the other hand Vogel's unwillingness to talk to the Camp Trans group is perhaps as open to criticism as her definitions of gender identity. Surely if a definitive concept of self cannot be settled upon easily, the lines of communication between Camp Trans and the Festival can at least be expected to keep the search from stagnating. The role the Festival has served as "a locus of political and cultural debate" (Delany) combined with its relatively successful negotiations of class and race issues indicates that it can play this role successfully. Although the womyn born womyn policy might not have changed, it is difficult to imagine many other platforms on which trans related debates could occur on such a large scale. In light of this it does not seem unrealistic to think of the debate as beneficial in ensuring continued rethinking of the issues, and not just as part of some potential revision or creation of identities which will hopefully be completed some time in the future. References Bhabha, Homi K. The Location of Culture. 1994 London: Routledge. 2000. Butler, Judith. Gender Trouble. New York: Routledge, 1999. Delany, Anngel. "Michigan Womyn's Music Festival celebrates 25 years of controversy." Gay.Com (2002) May 10th, 2002. http://content.gay.com/people/women_spac... Foucault, Michel. The Archaeology of Knowledge. Trans. A Sheridan Smith. Ed. R.D Laing, London: Routledge, 2000. Gubar, Susan. "What Ails Feminist Criticism?" Critical Inquiry 24.4 (1998): 878-903. Jagose, Annamarie. "Queer Theory." Australian Humanities Review 4 (1996) http://www.lib.latrobe.edu.au/AHR/archiv... (28-6-02). Lorde, Audre. "Age, Race, Class, and Sex: Women Redefining Difference". Literary Theory: An Anthology. Ed. Julie Rivkin and Michael Ryan. 4th Ed. Malden: Blackwell, 1998: 630-636. Newman, Felicity, Summerfield, Tracy and Plunkett, Reece. "Three Cultures from the 'Inside': or, A Jew, a Lawyer and a Dyke Go Into This Bar…" M/C: A Journal of Media and Culture 3.2 (2000). http://www.api-network.com/mc/0005/count.... (28-5-02) Nussbaum, Martha. "The Professor of Parody: The Hip Defeatism of Judith Butler." The New Republic 22 Feb. 1999: 38-45. Parry, Benita. "Problems in Current Theories of Colonial Discourse." Oxford Literary Review 9 (1987) 27-58. Rubin, Aviva. "The Search for Grey: an agree-to-disagree." Canadian Dimensions 31.5 (1997) 17-21. Smith, Janel. "Identity Crisis: Fuches Rise up and Unite." Off Our Backs 30.9 (2000): 13-20. Spinosa, Charles and Hubert Dreyfus. "Two Kinds of Antiessentialism and Their Consequences." Critical Inquiry 22.4 (1996) 735-764. Spivak, Gayatri Chakravority. In Other Worlds. London: Routledge, 1988. ---, "More On Power/Knowledge." The Spivak Reader. Ed. Donna Landry and Gerald Maclean. New York: Routledge, 1996: 141-174. Vogel, Lisa. "Official Statement of Policy by MWMF." (2000).http://www.camptrans.com/press/2000_mwmf... (30-6-2002). Wilchins, Riki Ann. Interview with In Your Face. (2000) http://www.camptrans.com/stories/intervi... (30-6-02). Xyerra, Ciara. A Renegades Handbook to Love and Sabotage 4. Madford: Independently Published, 2001. Links http://www.camptrans.com/ http://www.api-network.com/mc/0005/country.html http://www.camptrans.com/stories/interview.html http://www.camptrans.com/press/2000_mwmf.html http://www.lib.latrobe.edu.au/AHR/archive/Issue-Dec-1996/jagose.html http://content.gay.com/people/women_space/michigan_000807.html Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Ware, Ianto. "Conflicting Concepts of Self and The Michigan Womyn's Music Festival" M/C: A Journal of Media and Culture 5.5 (2002). [your date of access] < http://www.media-culture.org.au/mc/0210/Ware.html &gt. Chicago Style Ware, Ianto, "Conflicting Concepts of Self and The Michigan Womyn's Music Festival" M/C: A Journal of Media and Culture 5, no. 5 (2002), < http://www.media-culture.org.au/mc/0210/Ware.html &gt ([your date of access]). APA Style Ware, Ianto. (2002) Conflicting Concepts of Self and The Michigan Womyn's Music Festival. M/C: A Journal of Media and Culture 5(5). < http://www.media-culture.org.au/mc/0210/Ware.html &gt ([your date of access]).

The plausibility of a ‘celebrity-artist’ is met with scepticism, suspicion and/or outright disdain amongst those who guard the traditions surrounding the exclusionary world of ‘High Art’. As a construct unique to the advent of media culture, the vapid and transient nature associated with contemporary celebrity negates the high-minded notion of genius retrospectively applied to a ‘hero-artist’ such as Michelangelo or Rembrandt. (Chris Rojek’s categories are useful in illustrating this difference. While the celebrity of earlier artists was based on talent, and thus, ‘achieved celebrity’, current media-generated celebrity, or what Rojek terms ‘celetoid’, is transient and artificially generated.) For media-celebrity is an immediately accessible veneer, a stopgap in our moments of boredom, and a point of ‘other’ against which we situate our desires, not expected to provide anything more or less significant than mass-entertainment. This contradicts or otherwise undermines the anticipation that Art express the ‘profound’, possess ‘essence’ if not ‘beauty’, or be part of the politically-motivated avant-garde. The two-dimensional world of ‘media-ted culture’ (a term I use to describe the manner in which the media mediates culture, as opposed to mass culture which presupposes a top-down construction of culture denying the free-play of signs and free-will of cultural consumption), with its attribute capitalist underpinnings, complicates the depth and emancipatory potential of Art, and, by extension, appears to threaten the entire elitist infrastructure of the Artworld by association to or blending with ‘mass culture’. In addition to a general malaise fuelled by the troublesome notion of a ‘Culture Industry’, these ideological Artworld constants maintain their position in the post-postmodern Nineties as the curmudgeonly core of criticism, particularly that scripted within the realm of the ‘popular’ media, aimed at contemporary art and its celebrity occupants. In his text Art and Celebrity, John Walker discusses the career trajectory of British-born artist Damien Hirst remarking that some critics “regard him as a frivolous clown whose showmanship robs art of its dignity” and further, “think his work has contributed to the dumbing down, coarsening and vulgarisation of British culture” (Walker 247). The relationship of the character of the artist to the form of his artworks, I will assert, is not an organic occurrence but a media-ted one. As an artist whose media-persona appeared to be driven by fame and the excesses and lifestyle it afforded, and who created work which seemed to reflect a rather disinterested, dispirited and dismissive attitude similar to that persona, Hirst finds himself in the conundrum of having become an artist whose financial success and art historical dilemma is his relationship to those self-same processes he utilized to achieve success at the start of his career. I will briefly sketch the mechanisms which led to Hirst’s definition within the purview of the popular, and follow by suggesting an art historical repositioning of his work. Damien Hirst currently enjoys a peaceful, rural existence as the third highest-paid British artist alive today, having sky-rocketed to success in the Nineties as the ‘founder’ of the loose-knit group known as ‘young British art’. A product of the can-do attitude associated with Thatcherism and encouraged by his teachers, particularly the American-born Conceptualist Michael Craig-Martin, Hirst actively participated within the endorsement of his works and those of his London-based Goldsmith College classmates. Freeze, his first attempt at curation, has taken on mythic status in defining the group, and its professional gloss — particularly within its marketing strategy — is viewed as the precursor to an artistic disposition far more interested in fame and fortune, than form. (For a full discussion of Freeze, from a particularly Marxist perspective, see Stallabrass. His rebranding of ‘young British art’ into ‘High Art Lite’ sums up his position quite precisely. For a more light-hearted approach, see Collings.) As he progressed in his career during the early Nineties, and in conjunction with the promotional savvy of his dealer Jay Jopling, Hirst received frequent mention in specialist and popular media alike, quickly becoming known as young British art’s enfant-terrible. His lewd public behaviour, when collapsed as a single performance with his Art, was construed as a media-friendly spectacle which actively sought to attract the voyeuristic gaze of popular culture. This ploy appeared to work. Due to the familiarity granted by extensive media coverage, his images were subsequently co-opted within a number of marketplaces, ranging from film to advertising. For the first time in Britain an unusual cultural twist placed the world of High Art, embodied within the media-ted-performance-installation piece ‘Damien Hirst’, squarely within the realm of everyday experience. The ubiquity of his forms prompted friend/author Gordon Burn to pronounce that Britain was now under the influence of “a new intangible poetry becoming part of modern life” (Burn 10), or, in other words, had entered ‘Hirstworld’. Although the collapsing of work and artist within the realm of ‘modern life’ has art historical precedents, most obviously within the oeuvre of Andy Warhol, Hirst created a juxtaposition within his personality which largely undermined notions of what constituted the ‘Artist’. In contrast with Warhol’s eclectic ‘artsy’ public persona, Hirst presented himself as an average ‘Northern lad’: rowdy, temperamental, beer-swilling. His antics were part of the common cultural vernacular and when viewed in conjunction with the supposed media-friendly nature of his works, as Rosie Millard reflects, “Even if they hated it, people felt like they could have an opinion, because they understood what was going on” (Millard 21). Yet what did the public really understand, and how did they come to understand it? While a higher than normal attendance at the Sensation exhibit was regarded as an indicator of the success of young British art, the vast majority of the non-specialist audience commenting on these works based their assessment and interpretation of them on the exposure granted them by the mass media. The media-tion of yBa, particularly in the flagrant reporting of the artists’ statements and antics, flattened complexities or intertextual meanings into a by-line, which was meant to capture the imagination of a new audience for contemporary art in an easily consumable form. Although specialist criticism predictably ran the gambit, popular criticism was quite often disparaging or otherwise derogatory, and almost always took a biographical approach to describing the objects. Thus, what the public appeared to ‘understand’ was related much more to the hype and celebrity surrounding the artists, particularly the main protagonist Hirst, than of any issue related to form, appreciation or the history of art. Even more detrimentally, this conflation of art with biography led to many misunderstandings related to form, particularly in the assumption of its intention as ‘shock-art’ (as in Sister Wendy’s statement – see Wroe). An editorial letter printed in The Times points to this problem: “I am sure I am speaking for the general public when I say that these exhibits are not challenging, not clever, not funny and certainly not art” (Taylor 5; italics are mine). Outside of the media attention it garnered, young British art was as incomprehensible to its public as contemporary Art ever had been, even if the personalities of the artists and their motifs were easily recognizable. The notoriously fickle British were suspect of the equation: shark in formaldehyde = art. As Andrew Graham-Dixon notes, “They distrust the modern artist for old-fashioned puritanical reasons, being suspicious of any work of art which appears, to them, to have involved little work. They also suspect modern art of trying to fool them with a spurious jiggery-pokery” (Graham-Dixon 202). And perhaps more significantly, a class system which remained highly stratified continued to be firmly in place in the Nineties and was intensely critical regarding the allotment of government funds. (A well-documented incidence of this is the public outcry that occurred after the Tate purchased a work by Carl Andrew consisting solely of a line of firebrick.) The only thing that seemed shocking to the public was the promotion of the decadent young British artists with their spurious forms and high-fashion lifestyle. Exposure to the allegory of yBa led to the over-riding sentiment: ‘I could make that too, now give me my fame!’ (Incidences of this were rampant in the papers, i.e. members of the ‘working-class’ were shown displaying fish and chips in the gallery, other papers suggested ways to make-your-own Hirst; for one example, see Independent.) Not only did media-ted biography influence public opinion, but it infiltrated specialist art writing as well. Creating a direct link between biography and subject, Burn conflates objects which could be read as expressing an element of alienation with Hirst’s ‘predicament’ as a celebrity figure: “Celebrity is about control and distance; it is about adding space to the space that inevitably exists between human beings and remaining apart from the flock” (Burn 10; clearly co-opting Hirst’s vitrine sculpture of a lamb caught in mid-leap Away From The Flock to highlight this sentiment.) This sort of psychoanalytical approach edges, at best, slightly out of the realm of persona and into that of the personal. Either type of reading is regarded by Julian Stallabrass as possible only because of an intentional ambiguity on the part of the artist which allows the art object to posture as Art. For instance, Hirst provides sweeping generalizations regarding his objects, often associating them to the ‘grand narratives’ of life and death, and is at times even contradictory, employing a vague multi-referentiality which Stallabrass feels heightens the sense of ‘something important going on’. (Stallabrass suggests this is accomplished by utilizing theory without either acknowledgement or political/emancipatory intent in order to provide an illusion of sophistication. Hirst thus presents ‘The Death of the Author’, an art which appears to speak to intertextuality, only to make effectual use of it.) While Stallabrass’s own critique of yBa also conflates the persona of the artist with the artworks, he feels the media-tion of the artists has worked in their favour: “…behaviour and object-making together, fosters a feeling that it must be authentic because of its intimate link with the artist’s self, no matter how sham that self may be” (Stallabrass 247). The success of yBa is, therefore, based on a mythology regarding the persona of the artist, and a misreading of works that are otherwise “[a] combination of Hammer-style schlock and high-art minimalist rigour” (Stallabrass 26). Both of these critiques point to the central issue in an assessment of yBa (and a perennial problem for contemporary art in general): the possibilities of interpretation. In yBa in particular, interpretation has become a problem based on the conflation of the persona of the artist with their works, which I would attest is part of a larger problem regarding the confusion surrounding the relationship between the aesthetic and the spectacle, and the difficulties each term represents in popular and academic discourse alike. In the instance of Damien Hirst, the outcome of this confusion is an inability to accurately historicize the objects which comprise his oeuvre, additionally denying its aesthetic potential and dismissing the climate in which it was created. Unarguably, Hirst’s art contemplates the experience of life: as a cultural phenomenon in its contemplation of spectacular society, and as a tenuous state of embodiment, of the conditions in which we experience a state of ‘alive’. His objects (as signs or texts) provide a means to consider the dynamics in which human beings experience aesthetics, as well as providing an experience of that experience: systems which emphasize the sentient experience of phenomenology. The significance of the legacy of Hirst’s art (and of yBa generally) has already begun to be written in relation to its interaction with the media: as “conceptual work in visually accessible and spectacular form” (Stallabrass 4). While it would be disingenuous to suggest that Hirst has not capitalized or intentionally pandered to the media attention he received, it would be equally naïve to presume that his effort is purely a charade, or a mass-manipulation. The conflation of a media-ted biography with form negates the more significant aspects of Hirst’s work and its various dialogues with visual culture, the viewers in that culture and otherwise, and the history of visual objects, while simultaneously undermining the relative value of the image within contemporary society generally by association to capitalism and art-as-production. Perhaps there is a middle-ground between the Death of the Author, and Obsession with the Author? In reconsidering the aesthetic as a dialectical and culturally-bound sentient response resulting from interaction with an art object and experienced beyond the constraints of the beautiful, the importance of the first-hand interaction with art returns, shifting would-be viewers away from the water-cooler and back to the wonder of the art-experience in its many spectacular guises. References Burn, Gordon. “Hirstworld.” The Guardian 31 Aug. 1996: 10. Collings, Matthew. Blimey! From Bohemia to Britpop: The London Artworld from Francis Bacon to Damien Hirst. London: 21 Publishing Ltd., 1997. Graham-Dixon, Andrew. A History of British Art. Los Angeles: U of California P, 202. The Independent. “Review: Damien Hirst: DIY for Enthusiasts.” 18 Sep. 1997: 9. Millard, Rosie. The Tastemakers: UK Art Now. London: Thames and Hudson, 2001. Rojek, Chris. Celebrity. London: Reaktion Books, 2001. Stallabrass, Julian. High Art Lite. London: Verso, 1999. Taylor, Grace. “Unpleasant Sensation.” Magazine Letter. The Times 27 Sep. 1997: 5. Walker, John A. Art and Celebrity. London: Pluto Press, 2003. Wroe, Martin. “Sister Wendy Puts Boot into Damien.” The Guardian 12 May 1996. Citation reference for this article MLA Style LeBlanc, Carrie. "Stop Press!: Sister Wendy Refers to the Work of Celebrity-Artist Damien Hirst as 'Gossip Shock-Horror Art'!." M/C Journal 7.5 (2004). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0411/13-leblanc.php>. APA Style LeBlanc, C. (Nov. 2004) "Stop Press!: Sister Wendy Refers to the Work of Celebrity-Artist Damien Hirst as 'Gossip Shock-Horror Art'!," M/C Journal, 7(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0411/13-leblanc.php>.